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Each issue of cMerch^nts l^cord & Shd):t> Wtndo'k? contains 80 pages, size 9x12 inches. 

CARD WRITERS AND SIGN PAINTERS 
KEEP UP TO DATE 

If you are ambitious, have your heart in your work, and want to get all the help- 
ful and new ideas possible, you should not fail to read the monthly issues of 

Merchants Record 5ni Show Window 

The above illustration shows pages taken from the Sho'W Card and Sign Section, 
which IS one of the most important features of every issue. An entirely new and 
original free hand alphabet accompanied by full working description and examples 
of Show Cards and Signs appears every month, each written by a known expert. 

A Complete Air BmsH 

is offered FREE to successful contributors of original work. 

Send 25 cervts for copy of latest issue. 
Full year, twelve numbers, $2.00. No free samples. 



MERCHANTS RECORD 

1021 ManHattan Btiilding 



U) 



ANr» 



SHOAV AVINDO^V 

CHICAGO, ILLINOIS 



If You Are Ambitious and 
Desirous of Advancement 

I CAN increase: your, earning capacity 




EVER in the world's history was the demand for competent letterers 
so great. This is due in part to the extraordinary strides that have 
been made in all branches of advertising in the past few years, as evi- 
denced by the large number of bulletins and outdoor signs which may 
now be seen on every hand, and which were conspicuous a few years 

ago by their absence. I have 

positions for all competent grad- 
uates. The demand exceeds 

the supply. No matter what 

your present position you should 

consider a course of instruction 

with the school of which I am 

the president. I teach Sign 

Painting, Show Card Writing 

or Plain Lettering personally, by 

mail, and guarantee complete 

success if you will follow my in- 
structions. This is the only school 

that has ever dared to make 

such a liberal, unqualified offer. 
I am a practical letterer 

with years of experience, and 

have the best, most thorough 

and simple instruction in the 

world. I have more successful 

graduates and more calls for my 

graduates than any similar in- 
stitution. Be careful in selectmg 

your instructor — don't let anyone 

teach you. Look up the record 

and reputation of your prospect- 
ive teacher before enrolling in 

any school, and compare with 

my record and reputation. I will 

secure you as a student if you do, because I know you want the best instruction 

and I have the best instruction. 

Don't wait, write today and let me explain my method of teachmg. It is 

different from that used by any other school. Now is the time to investigate. 

Three separate courses: Show Card Lettering, Sign Painting and Plain Lettering. 

Easy terms. Address me personally today for large, new, illustrated catalog. 

CHAS. J. STRONG, President 
DETROIT SCHOOL OF LETTERING, 

"Oldest and Largest School of its kind in the world." Dept. 2, DETROIT, MICH. 




America's Recognized AtxtHority 
on Lettering 




Good Brushes and otDer modern 

Supplies for Sign Painters and 

Show €ard airiters 



WANT to send you a copy of the first catalog of 
supplies ever issued in the interests of those who make 
a living with a lettering pencil. 

I cater exclusively to the lettering fraternity. In my 
supply catalog you will find a most complete line of 
modern, up-to-date tools and materials. My goods 
are not the kind you have been getting — not the "store" variety — not 
"selected-at-random" sort. My goods are not on sale elsewhere, be- 
cause they are my own design and made to my order exclusively. 
They are designed for a specific purpose; thus if you have a particular 
piece of work to execute, I have just the kind and size brush for it. 

I HAVE MADE THE BRUSH QUESTION A LIFE STUDY 

I have long realized the necessity for good brushes and other materials 
used by the letterer. I know and you know, that they cannot be ob- 
tained from the average dealer, and I also know why. It is because 
but few dealers are practical men, and therefore do not know what 
you need. Goods to meet your requirements should be designed and 
selected by a practical man. 

My specially prepared oil and japan colors in patent tubular cans 
are also something entirely new. Convenient and economical. Every- 
one who has used them continues to do so. I put them up in all colors. 

All my goods guaranteed satisfactory or money refunded. 

I can't begin to tell you all the good things I have originated for 
you, so invite you to write for my large 40-page illustrated catalog. 
It is free. I want to place one in the hands of every ambitious letterer 
in this country. The present edition is limited. If you send dt once you 
will be sure to receive a copy. Ask for catalog B. 



Address, Chas. J. Strong, Presidents 
Supply Department of the Detroit School of Lettering 

Dept. L, Detroit, Mich. 

" Oldest and Largest School of its Kind" 



The Art of 

Show Card Writing 



A Modern Treatise on Show Card Writing, designed as an 
educator in all branches of the art — Contains many beautiful 
designs and complete and comprehensive instruction 
in pen and brush lettermg — Also the latest 
and best methods — With two hundred 
and fifty-six Illustrations and thirty- 
two Lettering Plates, comprising 
all the standard ancient 
and modern styles 



By 

CHARLES J. STRONG 

President of 
The Detroit School of Lettering 



Detroit 

The Detroit School of Lettering 

1907 

Copyrisht 1907 by the Detroit School of Lritfrinsj. Detroit. Mich. 



UBRARYofCONQRESS 

Two Oooles Received 

MA> 31 190^ 

Oopyriffht EMry 

CLASSr CL XXc, No. 
COPY B. 



T T "2) (L 6> 



S 



o 



PREFACE 



Like the products of the printing press, "show-cards," or temporary 
signs to be displa3-ed in store windows, have become, within the past few 
years, important factors in trade circles. Every business, however smah, 
whether in city, town or hamlet, finds growing need for this form of an- 
nouncement, and merchants everywhere realize that the professional show- 
card writer is as important a part of modern business methods- and equip- 
ment, as the clerk who hands the goods over the counter. 

The opening and development of this profitable avenue of employment 
for 3^oung men and women who can, with speed, produce neat and legible 
card signs, has inspired the author, Mr. Chas. J. Strong. President and 
Chief Instructor of The Detroit School of Lettering, Detroit, Michigan, 
to place upon the market in book-form the result of his man}- years of ex- 
perience as a craftsman and a teacher. 

This work embraces a series of instructions written and illustrated 
in a plain and unmistakable manner w-hich will enable anyone of average 
intelligence to acquire a thorough working knowledge of this branch of 
the sign writing art. That he has succeeded most admirably in this laud- 
able undertaking, is evident upon even a cursory glance through the pages 
following. 

Attention is directed to the half-tone plates, originated by the author, 
which illustrate most clearly the nature and order of strokes needed to 
form the various letters of the alphabets employed. 

A good workman must have good tools to produce good results. Most 
painstaking advice has been given upon the selection, use and care of 
necessary tools and materials. 

That the author is master of his craft, is clear from the many splendid 
examples he has placed before the ambitious student in these pages, for 
his inspiration and emulation. The wealth of illustration from the rudi- 
ments to the finished product, enlighten the path of progress step by step, 
and the explanatory text, in simple and unmistakable language, demon- 
strates that the learner could receive neither better nor more painstaking 
instruction if he were directly under the teachers personal and oral care. 

Some there are who can do a thing but cannot tell others how to do 
it. In addition to experience and knowledge of a high class, the author 
of this text book possesses the happy faculty of knowing how to impart 
his knowledge to others in a convincing, attractive and assimilative way, 
by reason of which the conscientious pupil cannot fail to acquire the 
successful knowledge he seeks and ^deserves. 

All art is subject to never ending development, and it would be an im- 
possible pretension to anticipate all' contingencies or compile between the 
covers of an}' book, however large, all that might be said upon this subject. 
It is, however, believed that the author has succeeded in his praiseworthy 
purpose to place before the student such practical, modern and com- 
plete instructions as w^ill enable him to become a capable and successful 
show-card writer. 

To the aspiring men and women, who. by this means, seek a con- 
genial and profitable vocation, filled with growing" opportunities, these 
pages are hopefulh' and respectfully dedicated. 

Geo. H. Stipp. 



^ 



%\'}ii'] 



Contents. 



Page 

Asphaltum 52 

Artificial Flowers 55 

Atomizers 56 

Adhesives 60 

Air Pencil 118 

Atomizer Decoration 121 

Autumn Decoration 149 

Brush Manipulation 29 

Arm Rests 36 

Care of Brushes 38 

Oblique Lettering 34 

Position of the Brush 33 

Show Card Brushes 38 

Utensils 35 

Bronze Powders 57 

Borders and Scrolls 67 

Blended Ground 109 

Book Cover Designs 171 

Classification of Show Card Ali)hal)cts 9 

Architects' Pen Stroke 22 

Bradley Text 14 

Draftsmen's 22 

Heavy Script 16 

Italic Script (Lower Case) 21 

Lower Case Letters 10 

Modern Italic (Lower Case) 10 

Modern Full I'.lock 12 

Old English 22 

Tuscan Block 22 

Circles S2 

Cut-Outs S9 

Diamond Dust 58 

Diamond Dust Decoration 115 

Examples and Methods 96 

Finished Alphabets 2 1 

Antique Koiiian 24 

Egy|)tian 25 

Modern Italic (riii>er Case) 27 

Fountain Air Brush 55 

Flitter Brocades 58 

l-.-iiK-y Initials 71 

Flower Desif^ns 1 28 

Fancy Cai)itals 1 -•** 



Page 

How to Correct Errors 65 

Japan and Oil Colors SI 

Laying-Out 60 

Mat Board 53 

Margins 66 

Mounting Cardboard 81 

Mat Borders 109 

Ornamental Panels 71 

Pen Work 41 

Ruling Pens 43 

Soennecken Pens 43 

Shading Pens 43 

Solid Marking Pens ■ 45 

Signograpli Pens 46 

Photographers' Cardboard 55 

Poster Embellishments 74 

Practice Work 79 

Plain Cards 91 

Pen Knife Decoration 115 

Perforated Signs 121 

Panels 149 

Price Tickets 149 

Raised Ornaments 57 

Raised Panels 101 

Ribbon Designs 12S 

Scope of the Subject 7 

Show Card Alphabets 7 

Show Card Numerals 29 

Show Card Colors 47 

Aqua ( Water) Colors 49 

Dry Colors 48 

Distemper Colors 48 

Letterine 51 

Show Card Inks 52 

Shading 86 

Soap Lettering 88 

Stencils 88 

Spatter Work 109 

Seasonable Decoration 134 

January — Februar\- 134 

March, April. ]\Iay. Tune. July 141 

August. Sept.. Oct.. Nov.. Dec 148 

Show Card Phrases .• 171 

Boys' Clothing 173 

Ladies' Wear 172 

Men's Clothing 171 

Men's Furnishings 172 

Men's Hats 173 

^Miscellaneous 174 

Shoes 17 3 

Standard, Ancient and Modern Alphabets 178- 209 

What to Charge 91 

Wall Paper Decoration 101 



THE ART OF SHOW CARD 
WRITING 

SCOPE OF 
THE SUBJECT 

Recent years have wrought a marvelous change in the 
kind and style of sign used for temporary purposes by the average 
merchant. Neat, attractive card signs, price-tickets, etc., have now be- 
come such a staple and popular medium for advertising all commodi- 
ties, that many letterers have adopted card writing as a specialty. The 
growth of this branch of the sign painting trade has been remarkable. 
The demand for work of this kind has increased so rapidly and, I 
might add, unexpectedl}-, that up to this time, it has been impossible 
to supply it without help from the sign painter, who, as a rule, is not 
equipped for such work and does not cater to it. They who have 
taken up this trade as a specialty, are reaping a golden harvest. To 
have a value, both in an artistic and a commercial sense, card signs must 
be done neatly, legibly and very rapidly. In the following pages I will 
try to instruct you thoroughly in the use of the latest tools, brushes, ma- 
terials and methods used in modern show card writing. 



Show Card Alphabets 

SHOW CARD 
ALPHABETS 

The selection of appropriate alphabets for show-card 
writing is the very first thing that should be considered by the novice. 
To bring you to a proper realization of the importance of this subject, 
I will analyze it from a strictly business point of view. Signs may be 
properly divided into two divisions; namely, the "temporary" sign and 
the "permanent" sign. Now, the point I wish to make is this: Signs 
of a tcniporar\- nature command very little remuneration as compared 
with the other kind. It is pertinent to add, however, that the profit 
from the cheap or temporary sign, in proportion to the outlay of time 
and material, as a rule exceeds the returns from the permanent sign. 

Card signs are classified as temporary signs. They may also be 
termed "cheap" signs, by which is meant si.uns that cost l>nt little 

7 



THE ART OF SHOW CARD WRITING 



money. Therefore, the quicker they are executed, the greater the 
profit. This, of course, is also true of all other kinds of signs; but, 
when you consider that the sum received for an equal amount of work 
on almost any other surface is four or five times greater, you will bet- 
ter understand why speed is an absolute necessity. For this reason, 
chiefly, the style of letters used for Card Writing should be carefully 
chosen. The brush strokes in a given piece of work must be reduced 
to the minimum. Every extra stroke requires extra time. Thus, the 
letter that can be executed with the least number of brush strokes, is 
the style best adapted for any work of a cheap or temporary nature, re- 
gardless of the surface on which the letter is placed. 

That some card writers, either through ignorance or lack of 
proper training, fail to realize this is evidenced by their work, some of 
which often contains styles such as the Half Block, Full Block, etc. 
none of which should ever be used where speed is essential. 

As I have just stated, the number of strokes necessary to execute 
the letters must be reduced to the least possible number. This sug- 
gests at once the use of such styles as may be executed with single 
strokes, or what are better known as "one-stroke" letters. One-stroke 
does not mean that the entire letter may be executed with a single 
stroke of the brush, but that each individual part of the letter should 
be executed with a single stroke. For instance, the vertical strokes 
of the letter H (Fig. 21) may each be drawn with one stroke and the 
center horizontal stroke likewise. This is the full meaning of the 
term one-stroke. Now let me state again, as emphatically as pos- 
sible, that any style of alphabet, the letters of which have square cor- 
ners (such as the Half Block), are totally unsuited for rapid execution. 
With a little practice you will learn that a round, or curved sweep or 
stroke can be drawn more rapidh' and with much greater accuracy than 
a straight line. The Egyptian S for instance requires but three strokes 
by the one-stroke method while to make the same letter in the Half 
Block style requires exactly twenty-eight strokes. I call attention to 
this startling comparison to add emphasis to the importance of this 
subject. Any style of alphabet, therefore, having the greatest number 
of curved strokes and the least number of superfluous embellishments, 
is best adapted for rapid execution. 

There are several styles designed specially for speed pur- 
poses. You must not forget that show cards do not, by any means 
comprise all of the signs that are classified as "temporary." For in- 
stance, there is the cloth and oil-cloth sign, both of which are fre-' 
quently used, and nine times out of ten, these carry letters, the major- 
ity of which should belong to the one-stroke variety. Here I deem 
it proper to caution you against going to extremes with reference to 
one-stroke letters! I mean by this that it would be an example of poor 
judgment, or rather, poor discrimination, to execute an entire inscrip- 
tion with single stroke lettering. The sign will always look better if 



THE ART OF SHOW CARD WRITING 9 

a line or word of "finished" lettering is interspersed here and there. 
One line, or word of neat, nicely executed letters will draw attention 
from the one-stroke letters and give to the sign as a whole, a clean, 
attractive appearance. To make this more comprehensive, I will call 
your attention to Fig. 52, wherein you will note the word "HATS" 
is executed in the usual finished manner. The remainder of the letter- 
ing is done in the one-stroke Italic style. You will find many other 
examples in the lessons illustrating this point. 



CLASSIFICATION OF 
SHOW CARD 
ALPHABETS 

The alphabets especially constructed for speed purposes, are as fol- 
lows : 

1. MODERN ITALIC (lowercase) 7. DRAFTSMENS' STYLES 

2. MODERN FULL BLOCK 8. OLD ENGLISH 

3. BRADLEY TEXT 9. TUSCAN BLOCK 

4. HEAVY SCRIPT 10. EGYPTIAN 

5. ITALIC SCRIPT 11. MODERN ITALIC (upper 

6. ARCHITECT'S PEN case) 

STROKE 12. ANTIQUE ROMAN 

The last three alphabets in the above list — Egyptian, Modern 
Italic (upper case) and the Antique Roman — are classified amcng the 
finished alphabets suitable for show card work, about which I will have 
more to say hereafter. The Antique Roman, is not in any sense con- 
sidered a one-stroke style, but a fairly correct duplicate of the Egyp- 
tian and Modern ItaHc (upper case) may be executed by this method 
with the use of proper brushes. These three styles should be used al- 
most exclusively when a "finished" letter is desired. The word fin- 
ished in this sense means just what the word implies; that is, a letter 
that is correctly formed and proportioned showing all details and 
characteristics and omitting none of the component ^parts as is often 
done in one-stroke execution. Almost every inscription contains one 
or more lines or words that should be prominently displayed, and these 
lines or words in most cases, should be executed in a style belonging 
to the finished variety. I will repeat the reason why this rule should 
be followed. A correctly proportioned line of lettering will give a 
poor sign an air of respectability and serve to redeem what would 
otherwise be a very ordinary piece of work. It is very essential, there- 
fore, that you should not only become familiar with the one-stroke 
styles but also learn the correct formation of the styles recommended 
for finishing purposes. 



10 THE ART OF SHOW CARD WRITING 

LOWER-CASE 
LETTERS. 

Before taking up the next subject, I wish to state that 
the lower case letters of the various alphabets should be used almost 
exclusively for card work. Keep this constantly in mind. By com- 
paring the formation of the capital letters with those of the lower-case 
you will find the reason almost instantly. You will note that the num- 
ber of strokes required to execute the majority of the lower case letters 
is less in every instance. This is particularly true of the letters, a, b, e, 
f, h, 1, m, n, etc., all of which may be executed with from one to three 
strokes less than the same letters in the upper-case style. 

For the purpose of showing to a better advantage the particular 
qualifications of each of the show card alphabets, I will consider them 
individually in the order given. 

MODERN ITALIC 
(LOWER CASE) 

This style I consider one of the handsomest and most 
practical alphabets ever designed for rapid execution. It resembles 
somewhat both the Italic and Full Block styles. The width of the 
body of the letter is uniform throughout, thus conducing to speed, and 
the spurs are square cut and placed with few exceptions on the upper 
extremity of the letters only. Some of the lower extremities are finished 
plain, in much the same manner as the Egyptian. It is extremely legible 
although somewhat eccentric. This is the one alphabet above all 
others that you should first master. Although but recently designed 
(by the writer), it has jumped into popular favor like magic and is now 
used by most up-to-date card writers. The reason for this is very 
apparent. Its construction is beautiful. The letters are not designed 
along rigid, inflexible lines, but, on the contrary, allow of great free- 
dom in the general formation, as is evident by the several variations of 
the different letters shown on plate number 16. It is governed 
by no rule but that of uniformity thus removing every chance for 
criticism by the uninitiated. It is extremely graceful. It is easy to 
execute because it slants to the right. It may be executed with fewer 
strokes than any known one-stroke style, with possibly the exception 
of the Italic Script. When you have mastered this style you will be 
prepared for any emergency wherein speed is absolutely necessary. 
On page 11, Fig. 1, I have shown each individual stroke necessary 
in the construction of the letters of this alphabet. The strength of 
the shades indicates the order in which they should be made. For 
instance, the lightest shade is stroke No. 1 and the darkest shade is 
the last or finishing stroke. The dart indicates the direction of the 
stroke. In this work, you will find similar plates to illustrate the brush 
strokes for all the one-stroke and finished alphabets used in card writ- 
ing. The idea of showing the various strokes in shades of different 
strength is oringinal and I believe will prove to be a great assistance 
to the novice. 



THE ART OF SHOW CARD WRITING 



11 



t 



t 



\ 




12 



THE ART OF SHOW CARD WRITING 



MODERN 

FULL 

BLOCK. 

This alphabet might also be appropriately called the 
upper case, or capital letters of the Modern Italic (lower case). 
Everything that has been said of the former may be fittingly applied 
to this alphabet. You will note that the general proportions of the 
letters are almost the same as the Round Full Block and that the spur 
is identical with the exception that it is somewhat extended here and 
there. You will also observe that the various eccentric tw^ists and 
curves in some of the letters do not, in any way, affect their legibil- 
ity. This is because they are not used as component parts of a letter 
but rather as embellishments to relieve the plain appearance and give a 
modern, or stylish touch. 

The letters of the Round Full Block alphabet, owing to their uni- 
form proportion and many square cut corners (necessary to form the 
spurs), are entirely unfit in their correct normal form for rapid exe- 
cution; but specially prepared brushes have made it possible to produce 
a very close imitation by the one-stroke method. To again illustrate 
the difference in favor of the one-stroke method, I will call your at- 
tention to Fig. 2 where I have shown the application of the one- 



13 






a 



Fig. 2. 




stroke principle to the letter E. This character, if lettered in the usual 
correct manner, requires seventeen separate strokes of the brush, 
while but six strokes are necessary with the one-stroke method. Of 
course, it is not always possible to execute an absolutely correct let- 
ter in this manner; but, for show card or temporary work, this is not 
strictly essential. What is desired is a clean, neat, "snappy" effect, 
rather than a close attention to detail. This alphabet gives a very good 
idea of the liberties that may be taken with the fundamental styles 
without in any way affecting their usefulness or legibility-. 

The novice should be very careful, when using this style, not to com- 
bine in one word or line, too manv of the letters having eccentric character- 



THE ART OF SHOW CARD WRITING 



13 



istics, which is a common fault in the work of the student. As most be- 
ginners have but a vague idea of pleasing combinations of modern let- 
ters, I feel that I should show by illustration, the exact mean- 
ing of the point I wish to bring out. If you will, therefore, refer to 
Fig. 3, vou will note a combination of letters each of which is an 



Fii 



exact duplicate of those shown on plate No. 18. The effect is poor 
because the ornate features are over-done. There are too many 
curves and fancy additions in a limited area. Now, by making the 
change shown in Fig. 4 where some of the fancv flourishes have 

'BLEAK 

Fig. 4. 

been omitted, you will observe that the word is not only more legible 
but the artistic appearance is also much improved. Thus you see how- 
easy it is to overdo. Careful discrimination is necessary when the 
modern styles are used. In most cases a modern style may be 
used appropriately as a '"starting" letter, which means the 
first letter in a line or word. The ^Modern Full Block alphabet and 
the ^lodern Italic styles comprise all the fancy or eccentric letters 
necessary to give any piece of work an up-to-date appearance. These 
two styles, if used in conjunction with the plainer alphabets, will pro- 
duce excellent results. Few, if any, deviations should ever be made 
from the normal form of the remainder of the show-card alphabets. 
Fig. 5 shows a line of lettering the original of which was made 

PRIVATE 

Fig. 5. 

with the flat brush illustrated in Fig. 6 by the one-stroke method. 
You will be surprised at the speed with which these letters can be made 
after a little practice. Fig. 7 shows a pretty efifect obtained by the 



14 



THE ART OF SHOW CARD WRITING 



use of this letter combined with the lower case letter of the same style. 
Fig. 8 illustrates the individual brush strokes of the letters of the 
Modern Full Block Alphabet. 




Fig^ 



fRY Our 

SODA 



Fig. 7. 
BRADLEY 

TEXT. 

This alphabet very closely resembles the Old English 
style. It is exceptionally handsome and appropriate for any part of 
an inscription except display lines or words. It may be executed very 
rapidly with either a shading pen or flat chisel-edge brush, and shows to 
the best advantage when used for small lettering. It requires but a 
glance to observe that each component part of each letter must be 
executed with a single stroke if speed is to be obtained. To execute 
this style in the same manner as required for finished lettering would 
require so much time as to render it unfit for card work. The capital 
letters of this alphabet should never he combined. This means that 
the placing together of two, three or more capital letters as in Fig. 
9 is not allowable. Don't forget this, for it applies with equal force 



THE ART OF SHOW CARD WRITING 



15 




(2) 



16 THE ART OF SHOW CARD WRITING 

mcoRKEcr 

Fig. 9. 

to all alphabets, whose capital letters are eccentric in form. To prove 
and emphasize this injunction. I will direct your attention to Fig. 10 
where the capital is used only as a "starting" letter. You may now 

Correct 



Fig 10. 



draw your own deductions as to which example presents the more 
satisfactory appearance. 

Perhaps I had better put the above rule or caution in a more sim- 
plified form as follows: 

Never combine two or more capital letters of any 
fancy or modern style. Use them o-nly as a start- 
ing letter or where capital letters are appropriate. 
NOTE. — Combining the capital letters of the standard 
styles, such as the Roman, Full Block, Half Block, 
etc., is not only legitimate, but, in most cases, advis- 
able. 
Fig. 11 illustrates the individual brush strokes of the letters of the 
Bradley Text alphabet. 

HEAVY 
SCRIPT. 

Script (Heavy) lettering is often employed with good 
effect to relieve the monotony of straight lines and to give prominence 
to certain words in an inscription as illustrated in Fig. 12. This 
style is especially adapted to one-stroke execution. The hea\'y ''swell" 
which occurs in the body of each letter can be executed very easily 
and quickly after a little practice and with the use of the proper brush. 
Just a little experience will demonstrate that they may be drawn with 



THE ART OF SHOW CARD WRITING 








:^*-^r 



t • 




A-^ 




V\ 
















^ 








* 









4 



^* 4 . mi 



III 





IS 



THE ART OF SHOW CARD WRITING 



a brush almost as rapidly as with a pen in writing. In Fig. 13, I 
have shown the manner of applying the one-stroke principle. Notice 
that the a can be executed with two strokes ; also the c, e, r an.d s. The 
rule referring" to a combination of capital letters also applies to this alpha- 
bet. Generalh-, but one word or line of script lettering should be shown in 




Fig r. 




Fig. 13. 



an\- inscription ; and in no case, should this style be used ecxlusively 
in a piece of work. Refer to Fig. 11 for detailed strokes in the let- 
ters of this alphabet. 



THE ART OF. SHOW CARD WRITING 



19 




THE ART OF SHOW CARD WRITING 





THE ART OF SHOW CARD WRITING 21 

ITALIC 
SCRIPT 
(LOWER 
CASE). 

The lower case letters of this style might properly be 
called abbreviated examples of the Spencerian Script alphabet. By 
"abbreviated," I mean minus a large number of curves and artistic 




Fis. 16. 



THE ART OF SHOW CARD WRITING 



"sweeps" necessary in the formation of the pure Script style. The 
characteristics are retained and the principles governing the genuine 
Script are the same, the chief distinction being, that the letters of the 
Italic Script are not connected; each occupies a space by itself the same 
as the Block styles. The capital letters, with a few exceptions, are 
almost exact facsimiles of the capitals of the Antique Roman style, 
the principal difference being that each is slanted in harmony with the 
lower case letters. The spurs with which they are finished makes it 
necessary to classify them as finishexi letters. They will, therefore, 
be considered more fully under another head. The various brush 
strokes necessary in the execution of the Italic Script, are shown in 
Fig. 15. 

ARCHITECT'S 
PENSTROKE, 
DRAFTSMEN'S, 
OLD ENGLISH. 

These three styles are usually executed with a writing pen 
designed particularly for the purpose. They are really pen, and not 
brush alphabets, although some of the styles may be executed equally 
well with a brush. All of these styles belong to the one-stroke class, 
and are easily and quickly made. Fig. 16 shows a variety of inscrip- 
tions combining these and other styles. 



CHOICE 
PICTURES 



Fig. 17. 

TUSCAN 
BLOCK. 

This is another of the block alphabets which may be 
used to splendid advantage for one-stroke work. The formation of 
this letter is such as to permit the use of a flat brush like that re- 



THE ART OF SHOW CARD WRITI\Xt 




24 THE ART OF SHOW CARD WRITING 

quired for the execution of the Round Full Block. The letters of the 
Tuscan Block alphabet are formed almost exclusively with curves, 
which, as j^ou have been told, are characteristics that always mean a 
saving of time. In Fig. 17 you will find an example showing the nice 
effect which may be obtained regardless of the fact that the letters 
are not perfectly formed or constructed. This is one of the one-stroke 
styles used very frequently by the sign painter. See Fig. 18 for detailed 
brush strokes of the Tuscan Block alphabet. 



Finished Alphabets 



I have previously explained the meaning of the term finished. 
Any letter correctly executed may be properly called a finished letter; 
but, as some of the styles may be executed with more rapidity than 
others, we must be careful to make a wise selection. 

ANTIQUE 
ROMAN. 

Most expert card writers employ the Antique Roman 
almost exclusively for display purposes, whenever the space will per- 
mit. Don't overlook the significance of the statement, ''whenever the 
space will permit." Never try to crowd a letter into a space that will 
not permit it to be correctly porportioned unless you use a style that is 
constructed for condensing. The selection of the Antique Roman for 
general use is a good one, for it is not only very plain and handsome, 
but may, with a little practice, be executed with much greater speed 
than any of the other standard styles with the exception of the Egyp- 
tian. This style like the Roman should not be condensed to any great 
extent; therefore, as stated above, it should be used only w^here the 
space will permit an almost normally proportioned letter. This and the 
Modern Italic (upper case) are the only styles appropriate for show- 
card work that cannot properly be classed as one-stroke alphabets. 
In Fig. 19 I have shown the number of strokes required to execute 





Fig. 19. 



THE ART OF SHOW CARD WRITING 



the letter E (Antique Roman) and also the order in which they should 
be drawn. The vertical stroke is No. 1 and should be executed with 
one stroke of the brush. The horizontal hair-lines are next in order, 
after which the spurs are added. The same principle of execution 
should be applied to every letter of this alphabet. Fig. 20 shows to 




HAT5 

Fig. 20. 

what extent it may be condensed and elongated. You will note that 
there is a wide difference in the proportions of the letters constituting 
these two examples, and that the effect is equally good in either case. 

EGYPTIAN. 

The Egyptian alphabet, as you have learned, is almost 
an exact counterpart of the Spur Egyptian style, the principal differ- 
ence being the addition of the small pointed spurs to the latter. To 
execute the spur requires much more time. This is, therefore, a good 
argument against the frequent use of the Spur Egyptian for card pur- 
poses. It is possible to execute a very exact duplicate of the Egyptian 
style by the one-stroke method, as illustrated in Fig. 21. You should 
practice the formation of this style until you are able to execute 
the vertical and horizontal parts with a single stroke. Try to finish the 
extremities of the stroke without showing a ragged edge. To prevent 
an uneven edge, the brush must be full of color. In the figure, you 
will observe that only a limited number of strokes are required for the 
execution of the various letters. For instance, but three strokes are 
required for the A, three for the B, two for the C, two for the D, and so 
on, thus making them admirably adapted, in every way, to rapid exe- 
cution. 

This style has only one objectionable feature; viz., it is somewhat 
clumsy in appearance. This is due to the uniform width of the body 
and the absence of artistic characteristics. It is the very plainest style 
known to the letterer, and this is a point in its favor, for legibility is 
the very first thing that should always be considered in the selection of 
styles for the average inscription. Egyptian letters executed by the 
one-stroke method, are sometimes called "plug" or "stump" styles. 



~6 THE ART OF SHOW CARD WRITING 



l» 



^ 





I 






f 



/ 



I 



ii« 




r~^ 



THE ART OF SHOW CARD WRITING 



MODERN 
ITALIC 
(UPPER CASE.) 

The capital letters of the Italic Script are so nearly 
like those of the Antique Roman as to need no extended explanation. 
Slanted letters may be executed much quicker than the upright 
letters. This is a strong point in favor of oblique lettering. The 
spurs are omitted at several of the extremities also, making it possi- 
ble to execute the letters more rapidly. This is particularly true 
of the letters A. B. K. R and W. This alphabet (No. 17) has been 
pronounced one of the handsomest st3des ever created. It was designed 
by the writer. 

With a thorough knowledge of the one-stroke styles and the three 
so-called "finished alphabets," you are in a position to compete with 
anyone and obtain results equal to those of the experienced and accom- 
plished card writer. 




Fig 22. 



28 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 29 



Show Card Numerals 

A few words of advice with reference to numerals. But a 
glance at the work of the expert card writer is required to observe 
that the figures of the Antique Roman style are used almost exclusively 
for card work. They are preferable to all other styles. The chief 
reasons for this are the same as those I have given to explain the pop- 
ularity of the Antique Roman alphabet. Any style of numeral sug- 
gested by good judgment may be used, however, for the reason that 
the figures constitute, as a rule, a very small part of the inscriptio.n, and 
when given prominence should, in nearly every instance, be executed 
in a "finished" manner. In Fig. 22 I have shown a combination of 
one-stroke and Antique Roman styles to illustrate the point with ref- 
erence to the numerals. Fig. 23 illustrates the brush strokes in the 
numerals of the Antique Roman style. 



Brush Manipulation 



There are just 14 different strokes necessary in the forma- 
tion of any given style of letter or scroll. They are as follows: 

Right vertical stroke 

Left vertical stroke 

Upper horizontal stroke 

Lower horizontal stroke 

Right and left slanted stroke (right) 

Right and left slanted stroke (left) 

Right curved stroke 

Left curved stroke 

Compound curved stroke (right) 

Compound curved stroke (left) 

Upper semi-circle stroke 

Lower semi-circle stroke 

These strokes are illustrated in Fig. 24. One or more 

of these fourteen strokes enter into the construction of every 
style of letter or scroll ; therefore, once they are mastered, the 
path is thereafter easy. Keep in mind the importance of plenty of 
practice. Constant exercise with the brush will bring surprising re- 
sults. Execute all kinds of examples of your own conception. Re- 
member the old saying."Perseverance will accomplish anything." Keep 
persistently at it until you have achieved the success desired. 



THE ART OF SHOW CARD WRITING 




THE ART OF. SHOW CARD WRITING 31 

Always make your brush strokes continuous. Avoid short, 
"choppy" strokes. A little practice will demonstrate that a line, 
either curved or straight, can be drawn much more exact with a mod- 
erately rapid, steady stroke, than when the movement is slow and hes- 
itating. Always begin the formation of any letter by executing the 
vertical strokes — the left vertical stroke first (finished letters) and the 
right vertical stroke next. The correct formatio.n and proportion of the 
letter is the first thing to be accomplished, after which add the spurs, 
or other peculiarities, which, as a rule, do not affect the proportion. 
Before beginning the brush exercises illustrated in Fig. 24, commit 
to memory the following rules: 

(1) Do not work with the point of the brush. Use 
the side of the brush and keep the hair spread as much as 
possible. This is not only the easiest way to draw a correct 
line, but helps to fill in the letter as you go. 

(2) Always begin the formation of a letter by first 
executing the vertical strokes. 

(3) The spurs are what give the letter character and 
finish and should therefore be executed last. 

(4) A moderately rapid, steady stroke is more desirable 
and will insure better results than a slow, hesitating movement. 




Fig. 25. 

(5) When making a connection, i, e., joining two brush 
strokes as illustrated in Fig. 25 do not resume exactly at the 
stopping point (A) but begin a short distance back of, or above 
the preceding stroke and gradually spread the hair until you 
reach the point from which you desire to continue. 

(6) Always use a brush large enough to hold sufficient 
color to execute the vertical strokes without recharging. 



THE ART OF SHOW CARD WRITING 



The brush should be held between the thumb and first finger 
firmly, but lightly, in much the same position as a pen or pencil, — not 
stift' or rigid, but so as to allow the handle of the brush to roll between 
the fingers when necessary, as in the execution of a curve. Try to 
maintain a uniform pressure unless a "swell" is desired. In this case, 
first place the point of the brush to the surface, increase the pressure 
gradually until you have reached the required width of the stroke, and 
then decrease the pressure until the brush comes to a point at the ter- 
mination of the stroke. At the beginning of your brush practice, draw 
the lines slowly and continuously. Do not allow the movement to 
become jerky. 

The object is to execute a straight, unwavering line on the side 
of the stroke that represents the finished part of the letter. Pay no 
heed to the other side of the stroke. This rule cannot be follow^ed 
when one-stroke work is being done. -In this case, both sides of the 
stroke must be straight and uniform. One-stroke work requires an 
even pressure on the brush constantly, with the exception of the 
Script styles in which the "swell" occurs. 

After you have become reasonabh' adept with the vertical strokes, 
try the horizontal strokes. You will find these much more difficult. 
Practice them over and over and do not become discouraged if the 
results at the start are not what 3'ou anticipate. Xext. practice the 
curves and compound strokes not forgetting the fact that j'our object 
is to execute all of the brush exercises with a single stroke. Keep the 
brush well filled with color so as to avoid ragged, uneven edges. If 
the color is too thin, or the brush is too full, it will spread be^-ond the 
outline of the letter when applied. 

The color must be the proper consistency — not too thick nor too 
thin. If it is too thin, the hair of the brush will become "wobbly." 
If the color is too thick, it will "pull" and refuse to flow freel}^ resulting 
in an imperfect line. Dipping the brush in the color is not all that is 
required before applying it to the surface. It is necessar}- that the 
color in the brush should be evenly distributed through the hairs, so as 
to have as much color in the center of the brush as on the outside. 
After you dip your brush into the color place it on a palette, and 
"work" or wiggle it back and forth, turning it to the right and left 
alternately several times, after which draw it gently toward you on 
one side. The side resting on the palette should now be applied to the 
surface. The brush should be charged with color frequently. In or- 
der to acquire confidence, it is necessar}- to work rapidly. Do not be 
over-careful. Start in boldly, just as though 3-ou were an expert 
Practice faithfully. Follow instructions closeh". Do not expect to 
master any part of the instruction without conscientious and honest 
effort. 



THE ART OF SHOW CARD WRITING 



33 




Fig. 26. 



Position of the Brush 



The brush should be held in the hand in the position shown 
in Fig. 26. Allow your two lower fingers to rest on the arm-rest. 
This is the position of the brush for the beginning of the vertical 
strokes. As the stroke is continued toward the bottom it will be nec- 
essary to contract the thumb and draw all the fingers toward the palm 
of the hand as shown in Fig. 27 so that, by the time you reach the 
bottom, the brush will be in a perpendicular position. These strokes 
require a movement of the fingers only. To execute the horizontal 
strokes requires a movement of the wrist. Hold the brush in the same 
manner as shown in Fig. 26 and move the hand from left to right 
without changing the position of the fmgers. The right and left slant- 
ing strokes are executed in the same manner as the vertical strokes. 
The right and left curved strokes require a movement of the fingers 
only. After you have mastered these strokes, you will find it compar- 



34 



THE ART OF SHOW CARD WRITING 




Fig. 27, 
atively easy to execute the remainder of the strokes. Practice all 
brush strokes first with a No. 6 brush. After you have become accus- 
tomed to this size, try a No. 8 and then a No. 10 and so on. The 
larger the brush, the greater the speed. Thus you should cultivate 
the use of a brush that will execute the vertical strokes of the letter 
without refilling. 



"X' 



Oblique or Slanted Lettering 

A very pleasing variation in the appearance of a piece of 
work may be obtained by slanting some lines in an inscription, either 
to the right or left at a uniform angle of about 60 degrees. In no 
case is it advisable to slant a combination of extreme!}^ ornamental or 
eccentric letters. Slanted letters are sometimes used to emphasize, or 
call particular attention to a certain word or line. Letters slanted to 
the right can also be executed in much less time than the upright let- 
ters. This is because, in making all slanted strokes, the brush is 
drawn from the right to the left, fozvard the letterer, as in writing. 
That this is the most natural and free-hand movement can be quickly 
demonstrated. 



THE ART OF SHOW CARD WRITING 35 



Utensils 



The best workmen always use the best tools. An old say- 
ing, which I have almost forgotten, runs something like this: 

"A Good Workman Needs Few Tools." 
This was, perhaps, intended to mean that a good workman could ac- 
complish more with inferior tools than his less adept brother, for it 
is a well known fact that most skilled artisans are exceedingly partic- 
ular about the things needed in their work. Good brushes, good col- 
ors, good materials of all kinds are absolutely essential; for, not only 
do they conduce to speed, but they help to preserve a sunny temper- 
ament and also make it possible to obtain maximum results with min- 
imum exertion. My advice to you and every beginner is to surround 
yourself with the very best tools and materials obtainable. The best 
cost little as compared with the cost of tools needed by the members 
of most other trades. The card writer is fortunate, in needing but few 
tools and materials in the execution of his work. At the start, it is 
not necessary to buy all the various things required to produce unique 
and odd effects. The following list of materials includes everything 
that is absolutely essential for ordinary work: 

One No. 4 Red Sable Show Card Brush 

One No. 6 Red Sable Show Card Brush 

One No. 10 Red Sable Show Card Brush 

One No. 12 Red Sable Show Card Brush 

One Set Solid Marking Pens Nos. % & % 

One Set Shading Pens One No. 8 Flat Show Card Brush 

One Bottle Black Shading Ink One No. 10 Flat Show Card Brush 

One Bottle Red Shading Ink One No. 12 Flat Show Card Brush 

One Compass (with pencil attachment) 

One Jar Aqua (Water) Color, Black 

One Jar Aqua (Water) Color, White 

One Jar Aqua (Water) Color, Blue 

One Jar Aqua (Water) Color, Yellow 

One Jar Aqua (Water) Color, Red 

One Package Gold Lettering Bronze 

One Box White Crayon Two Soennecken Pens Nos. 5 and 6 

One Pair Large Shears Two Stub Pens Nos. 1 and 4 

One Sponge Rubber One Soft Lead Pencil 

One Straight Edge One Box Charcoal 

One T Square One Ruler 



36 THE ART OF SHOW CARD WRITING 

One-Half doz. Thumb Tacks 

One Bottle Mucilage 

One or two dry colors 

Cardboard 

The cost of all the articles enumerated above (cardboard ex- 
cepted), if purchased from the Detroit School of Lettering, will not 
exceed $7.00. Thus, very little capital is necessary to begin work. 
Equipped with these tools and materials, you are in a position to ex- 
ecute card signs for any ordinary purpose. Later on, you may find it 
necesssary to add several other tools, such as the Air Pencil, Air Brush, 
etc. in order to keep pace with the times. The list above will suffice 
for all kinds of plain work. 



NOTE. — To make this work complete, it -dnll be 
necessary for me to recommend and advise the use of 
various kinds of tools and materials. Although the 
articles that I shall commend are sold by the Supply 
Department of the Detroit School of Lettering, this 
condition, will, in no way, bias my judgment. I trust 
that you will not accuse me of being prejudiced or 
dominated by selfish motives, for my advice I assure 
you, is actuated only by o sincere desire to help 
you obtain the best results at the least expense. 
Everything that I recommend to be the best, I believe 
to be the best, regardless of where or by whom it is 
for sale. The supplies handled by the School are all 
of my own selection. There is, therefore, no guess- 
work about the matter. I have personally demon- 
strated their worth time and again. _^ All the examples 
in this and all other lessons were made with tools 
and materials handled by the School. My judgment 
has been unanimously endorsed by my pupils, and I 
therefore feel confident that you will not prove to 
be an exception. 



Arm Rests 



POSITION OF 
CARDBOARD. 

Cardboard signs, unlike the average sign, can be let- 
tered to the best advantage and with the greatest speed b}^ being laid 
flat on a slightly inclined surface, as shown in Fig. 2S. There is 
one very good reason why this method is preferable, i. e., the brush is 



THE ART OF SHOW CARD WRITING 



37 



held in a perpendicular position, thus permitting the color to flow freely 
and naturally. For this purpose use a table of convenient height, hav- 
ing a top about three by four feet. The top is sometimes arranged in 
such a manner as to allow raising or lowering to any desired slant. For 
the purpose of steadying the hand in which the brush is held, an arm rest 
is used. This is a strip of wood about three inches wide and about one 
inch thick with a small block under each end as shown in the figure. 
The rest should be of sufficient length to span the greatest width of a 
full sheet card and should be raised so that the top will be about two 
inches from the table. To allow a free movement of the hand, the 
edges of the strip should be beveled or rounded. The arm rest should 
always be used except for very small lettering. Small lettering can be 
more easily done by allowing the hand to rest on the card in the same 
position as for writing. The use of the rest will seem somewhat awk- 
ward at first but you will find, after a little practice, that it is the most 
natural and comfortable position, as it allows perfect freedom and con- 
trol in making all strokes of the letters, giving a greater scope in ex- 
ecuting large letters than any other method. Place the right hand on 
the rest, as shown in Fig. 28 using the other hand to move the rest 
up, down, or to the right or left. Most card writers execute their 
work in a standing position. 




Fig 28. 



THE ART OF SHOW CARD WRITING 



Show Card Brushes 



The brush is the first and most important tool with which 
you should become familiar. Red Sable Lettering Brushes, with 
handles about six inches long, securely fitted into nickel ferrules are 
the kind all experts use and are, therefore, the kind I recommend. 
Sable brushes are the only kind that can be used to advantage in 
water color. Camel's hair brushes soon lose their "spring" and elastic- 
ity when they come in contact with water. Sable brushes, on the other 
hand, are not in the least affected by water. With proper care, they 
will outlast brushes of any other character, and the work that you 
can do with them will be clean and free from ragged edges. For 
average purposes a set of four, comprising the numbers 4, 6, 10 & 12, is 
sufficient. Although these brushes, in their normal form, are pointed, 
they can be manipulated to do all kinds of one-stroke work. In this 
connection, I believe it apropos to state that card brushes sold by all 
dealers everywhere are fitted with handles about 10 inches long. I con- 
sider this length a nuisance. I have therefore, reduced the length of the 
handles in all brushes sold by the School to six inches. If you purchase 
the long handled kind, I advise cutting off about four inches. The style 
of brush which I have designed, I know to be the best ever made for Card- 
Writing and I can recommend it without hesitation to anyone desiring the 
very best. It is made in six sizes, viz.. Nos. 3. 4, 6, 8, 10 and 12. Fig. 
29 shows the axact size and style of each. Fig. 30 illustrates a flat 
brush recently designed by the writer for one stroke work. 



Care of Brushes 



Brushes are your most valuable tools and should be cared 
for accordingly. They should always be thoroughly cleansed after using 
by rinsing in clean water and laid in a flat position, or stood on end, 
hair up, until needed again. Never stand the brush so that the weight 
of the handle rests on the point of the hairs. Never allow your brushes 
to dry with color in them. By observing these few precautions, the 
life of your brushes may be greatly prolonged and they will always 
be ready for immediate use. 



THE ART OF SHOW CARD WRITING 



39 




Fig. 29. 



Fig. 30. 



40 



THE ART OF SHOW CARD WRITING 



jSi^b 



kJ 



I I I II 




Q59]CL<i7T?^ 




Fig. 31. 



THE ART OF SHOW CARD WRITING 41 



Pen Work 



STUB PENS. 

The pens used for show card work consist of several varieties as 
follows : 

Stub Pen 
Ruling Pen 
Soeanecken Pen 
Shading Pen 

All of these pens are illustrated in Fig. 31, also the "Signograph," 
which is a self-feeding shading pen. The stub pen can be used only for 
very small lettering, the body of which does not exceed in width 
the stroke that can be made by the pen. Stub pens can be ob- 
tained in many sizes. Before using the pen, its hardness must be re- 
moved. The process is very simple but must be carefully done or the 
pen will become too soft. First place the pen in a holder and then 
light an ordinary match and hold the point of the pen in the flame 
three seconds and then dip it quickly into water; after which dip it 
into your color. Stub pens are best adapted to Old English letters 
about the size shown in Fig. 32, where I have illustrated the strokes 



Fig. 32 

to show the order in which they should be made. The pen should 
be held as shown in Fig. 33. As often as necessary, dip the 
pen into the fluid, being careful to shake off the surplus color to avoid 
blotting. Now proceed to "write" the letters in the manner illustrated. 
It will be necessary to apply considerable pressure to the pen when the 
broad or heavy strokes are executed, graduating or reducing the pres- 
sure for the fine lines. Keep the whole of the pen point on the surface 
all the time, regardless of the width of the stroke. The principle is 
exactly the same as for ordinary writing, where the pressure is grad- 
uated according to the width of the stroke desired. Card pens are 
"stubby" and less elastic than ordinary pens, hence it is necesary to 
use a trifle more force. Pens should be cleaned frequently to insure 
good results. Keep the pen clean by washing occasionally in water. 



42 



THE ART OF SHOW CARD WRITING 




Fig. 33. 




Fig. 31 



THE ART OF SHOW CARD WRITING 43 

RULING 

PENS. 

These pens are used exclusively to draw straight lines of 
different widths. The thickness of the line may be regulated by the 
thumb screw that passes through the blades. 

They are very useful for drawing lines, especially on price tickets and 
for underlining purposes. They are not filled by dipping them into the 
ink, as most beginners suppose, but by passing a brush or ordinary pen- 
point, loaded with ink, between the blades of the ruling pen where the 
ink is deposited to a depth of about one-quarter of an inch. If filled 
too full, they will blot. The outside of the blades should be kept 
scrupulousy clean They cannot be used successfully in a free-hand man- 
ner, but should be guided by a straight edge or a T square as shown in 
Fig. 34. Any kind of ink, water color or liquid bronzes may be used 
in ruling pens. When water colors or bronzes are used, they should be 
thinned to the consistency of ink. Cleaji the pen thoroughly when your 
work is finished, otherwise it will rust. If the ink or color should refuse 
to flow freely, it may be started instantly by applying the points of the 
blades lightly to the tongue. The pen must always be held in a perpen- 
dicular position so that both blades will rest evenly on the surface. This 
rule will insure neat and accurate lines. 



SOENNECKEN 
PENS. 

These pens are designed specially to execute what is 
known as "Round Writing." This style of alphabet is not generally used 
by the card or sign writer. It is, however, a very handsome st>'le and 
for small lettering on price tickets is really beautiful. It is used almost 
exclusively by draftsmen, architects, etc., but there is no good reason 
why it should not become popular with the Card Writer, 

Round Writing is so called because of its predominant round form. 
It unites distinctness, beauty and ease of execution such as no other style 
can pretend to possess. I have not thought it necessary to give this style 
great prominence in the alphabets of this course for the reason that it is 
suitable only for small lettering. I have, however, illustrated the capital 
and lower case letters in Plate Xo. 23 and in Fig. S-o and have shown 
individual strokes of each letter. Letters of this style, with the exception 
of the joinings, are exclusively formed by heavy strokes. 



SHADING 

PENS. 

These pens are very serviceable for executing letters 
ranging from ^ inch to three or four inches in height. They are more 
popular, however, for very small lettering on price tickets. They derive 



44 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 



45 



their name from the style of the stroke which they make, as illustrated 
in Fig. 36 wherein you will note that one stroke of the pen makes two 
distinct shades. 




Fig. 36 

The color or shade that flows from the left side of the pen is 
always considered the shade. The part of the letter that is solid black is 
called the main stroke, or "body." 



Other Shading Pens 



SOLID. 

MARKING 

PENS. 

The only difference between this pen and the shading 
pen is that it makes a solid, opaque stroke without a shade as shown in 
Fig. 37. This style is a recent invention and is much preferred by 
modern card writers, because of the absence of the shading feature. Both 
styles are manipulated exactly the same. They may be used in the execu- 




Fig. -i. 

tion of the Bradley Text, Old English, and Round Writing styles 
to which they are particularly adapted. By paying close attention to the 
following instructions, you will find that only a short time is required to 
learn to handle the marking pen satisfactorily. 




46 THE ART OF SHOW CARD WRITING 

Fig. 37 shows the correct position of the pen. The angle of 45 
degrees has been adopted as the standard position for the point of the pen. 
This angle may be varied more or less but it must always be uniform in 
order to have the heavy strokes the same width. The width of the strokes 
may thus be decreased or increased by changing the angular position of the 
pen. 

The whole width of the point of the pen should always rest evenly on 
the surface regardless of the direction in which the pen is moving. This 
is the first important point to remember. All fine lines or slanting strokes 
are made by sliding the pen edgeways — either way — as shown in Fig. 37 
All wide strokes are made by drawing the pen straight downward. Curved 
lines are made by sliding edgeways and around to the right, or left, and 
downward. Hold the pen firmly so that when looking down directly on 
the pen and holder it will cover the pen and holder shown in Fig. 37 
The pressure on the pen should be just sufficient to make the ink flow. 

Fig. 38. 

Practice the strokes shown in Fig. 38. beginning with the simple move- 
ments (a), after which practice the curved strokes (b). By a proper 
combination of these strokes, you can form any letter that can be executed 

with the pen. It is filled the same as the ruling pen, i. e., by passing 
a small brush, laden with ink, between the blades of the pen. 



SIGNOGRAPH. 

This is simply a regulation shading pen witji a self-feed- 
ing or fountain attachment; and, because of this attachment, it is a great 
improvement over the old style, as it obviates the necessity of frequently 
recharging the pen. This pen is also a recent invention and is becoming 
deservedly popular. It is made in several sizes from ^ inch up to ^ inch 
in width, and is manipulated exactly the same as other shading pens. 
Fig. 39 shows how the pen is constructed, and Fig. 40 is an excellent 
specimen of the work it will produce with proper handling. It is filled 
the same as an ordinary fountain pen and does not clog or gum. It 



THE ART OF SHOW CARD WRITING 



47 




Fig, 




Fiff. 40 

feeds direct and is always ready for use. The self-feeding feature is a 
strong point in favor of the Signograph, as the time that may be saved in 
filling will soon pay for it. I have no hesitancy in recommending this 
pen as a first-class, up-to-date article. It is almost indispensable to the 
thrifty card writer. 



Show Card Colors 



Water colors are colors mixed with water and mucilage only. 
Just enough of the latter is added to make the colors adhere to the sur- 
face, to which they are applied. They are the only kind suitable for rapid 
show card work, and are used exclusively by the expert. This does not 
mean that japan or oil colors cannot be applied successfully to cardboard, 
for they can and are often used in sign establishments where the volume 
of card signs is so small as to render it impracticable to carry a water 
color equipment. Card signs that are exposed to the elements should 
always be done in japan or oil colors. 

There are several splendid reaso.ns why water colors are preferable 
for card work, to wit : their cleanly, odorless and quick drying qualities, 
and the rapidity with which they may be mixed. The first reason is per- 
haps the strongest point in their favor. Soiled hands can be instantl} 
cleaned with soap and water without leaving a stai.n. Cups, saucers, 
brushes and all other articles that may be used in the work may also be 
cleaned easily and quickly. Water colors are free from disagreeable fumes 
(4) 



THE ART OF SHOW CARD WRITING 



or odors such as emanate from oils and japans. They dry hard and firm, 
almost as quickly as applied, and the rapidity with which various tints and 
shades may be mixed is decidedly in their favor. 



Dry Colors 



Dry colors, which are paints in powdered form, may be mixed 
with water and mucilage for show cards. They are not as satisfactory 
however as ready-mixed colors, for the reason that they cannot be ground 
fine enough by hand. To work well under the brush, colors must be 
ground to the last degree of fineness. The dry pigments should, there- 
fore, not to be used except as a last resort. There are a great many dry 
colors, any of which can be obtained from the average paint dealer in t.he 
quantity desired. 

To prepare them for lettering, proceed as follows : 

Place a small quantity of dry color in an ordinary saucer (say about 
two tablespoonfuls) and soak it with alcohol, using just enough to dampen 
it all through. The dry colors are sometimes oily or greasy — especially 
the blacks, and refuse to unite with water. The alcohol is used not only 
to "cut" and destroy the effect of the oil, but to loosen or dissolve the 
powder. Add a teaspoonful of good mucilage and rub or grind the mixture 
with a large cork — about 1^ inches in diameter, until the mixture is as 
smooth as you can get it. After this is done, place the color in a recep- 
tacle that can be kept air-tight. It is now ready for use at any time by 
thinning with water to the proper consistency. For pen work, the color 
should be about the co.nsistency of ordinary writing fluid. All water 
colors should be thinned as you proceed with the work in hand, and not 
in advance, unless you propose to use all of the color before laying aside 
your work. Next to black, white is most frequently used, and the latter 
is the most difficult of all dry colors, to mix and properly apply. Ex- 
perience has demonstrated that Cremenitz is the best white to use. It is 
a form of white lead, and is preferable to all other whites, either dry oi 
prepared ready for use. The next best white is called C. P. (chemically 
pure) zinc. It is made from the white fumes of oxide of zinc. It will 
not cover as well as the Cremnitz White, but can be used successfully 
in an emergency. 



Distemper Colors 



This is the name given to opaque water color paints that are 
mixed ready for use, (except the addition of an adhesive.) The word 
"distemper" means "a preparation of opaque or body colors with size 
instead of oil." "Size" is the adhesive substance with which the pigment 



THE ART OF SHOW CARD WRITING 49 

or color is mixed. They are simply dry colors ground in water to which 
mucilage only is added before using. These colors are used exclusively by 
fresco painters in tinting and ornamenting the walls and ceilings of rooms. 
When put up and ground properly, they are the very best for all card 
work. They can be purchased in glass jars from some of the up-to-date 
paint dealers, but are not generally carried by the small stores. Those put 
up in glass jars with aluminum screw tops are the best. The jars arc very 
convenient; the screw top makes them air-tight and prevents the drying: 
and hardening of the colors. 



Aqua (Water) Colors 

These colors are pre-eminently the very best preparations 
ever put on the market for show card writers' use. They are manufac- 
tured only and exclusively for the Detroit School of Lettering and cannot, 
therefore, be obtained elsewhere. They are put up in four ounce and two 
ounce glass jars with aluminum screw-tops. Each cover is packed with 
cork, thus preventing any possibility of rust or evaporation. Professional 
card writers are now using these colors to the exclusion of all others. 
All the designs in this lesson were made with the Aqua colors. I am per- 
fectly willing to admit that many other colors and preparations may be 
used with a degree of satisfaction more or less problematical, but I am 
satisfied at this writing, that there is nothing to compare with the Aqua 
colors for convenience or effectiveness. Aqua colors can be obtained in 
the following colors: 

White, Black, Blue, Old Gold 

Green, Yellow, Purple, 

Orange, Dark Red, 

Bright Red, 

Olive Green , 

Lemon Yellow, 

Rich Brown. 

To each large 3ar of color one tablespoonful of good mucilage 
should be added and the contents thoroughly stirred. To each small jar 
of color about a teaspoonful of mucilage should be added. If the color 
rubs off when it is dry it is proof that you have not added enough 
mucilage. If too much mucilage is put into the color, it will "pull" and 
work "tough" under the brush. When ready to apply the color, dip the 
hair of the brush into the jar removing only such color as will adhere to 
the hair. 

Rub the hair of the brush back and forth alternately on the palette, (a 
saucer or broken piece of china will do) until the color is distributed evenly 
through the hair. If the color is now too thick to spread smoothly, dip 
the point of the brush in water and repeat the process on the palette until 



50 



THE ART OF SHOW CARD WRITING 



the color is the proper consistency. Two small cups or jars should be pro- 
vided, one for clean water for mixing purposes and the other for rinsing 
purposes. 

Alwa3^s keep the color covered air-tight when not in use, to prevent 
the water, in which it is ground, from evaporating. If, through careless- 
ness, the color should become hard, add a liberal supply of water and 
allow it to stand over night, after which place it in a saucer and grind 
with a large cork until smooth. Water colors should be thinned with water 
only. Do not thin the color in the jar after it has been mixed with the 
mucilage. Thin the color as you proceed with your work only, as I have 
previously explained, first taking a small quantity of color from the jar 
and placing in a saucer. The foregoing directions are printed very plainly 
on the label of each jar. Fig. 41 shows the cwact size of the two ounce 
jar and figure 42 the size of the large package. 



^.^^^r^*^^^^^^^ 



CELEBRATED 



AQUA 




(WATER) 

C O L O R 



^^^^^ 





Fig. 41. 



Fig. 42. 



For all kinds of card work, pen work, price tickets, etc., the Aqua col- 
ors are in a class by themselves. They are made to the order of and under 
the personal supervision of the writer and I trust that you will accept my 
statements with reference to their excellence in the same good spirit which 
prompts them, notwithstanding the fact that the colors are sold only 
by the Detroit School of Lettering. 



THE ART OF SHOW CARD WRITING 51 



Letterine 



This is one of the many preparations more or less suitable for 
card work. Letterine is a secret mixture put up in bottles in liquid form, 
ready for instant use, and is manufactured especially for card writers. 
It may be had in all colors and is thinned with water only. Many use it 
for common work because of its convenient form, and the easy manner 
in which it may be applied. Letterine has several good and also several 
bad qualities. Its goods features may be summed up as follows : It needs 
no adhesive, and is therefore ready for instant use; it's already thinned to 
the proper consistency; it dries hard and quickly with a very perceptible 
gloss ; and, it works freely and smoothly under the brush. Thus, it has 
many good qualifications to commend it. Were it not for the bad features 
which i will .now su'umit, it would equal, if not excel, every other prepara- 
tion. 

To obtain satisfactory results, in the work of the card writer, it is ab- 
solutely necessary that the colors should "cover." By the term "cover" I 
mean that the surface beneath the letters should be entirely obliterated. 
Colors that are used on card work, should be opaque^ so that when the 
color is dry .no trace of the background can be seen. This cannot be 
accomplished with Letterine because it is transparent. When applied, the 
surface can be very distinctly seen through the color. This fault also per- 
mits the brush-marks to be seen. Pencil marks, spots or soiled places of 
any kind on the ground work therefore may easily be observed when cov- 
ered with Letterine. The strongest point against the use of Letterine is 
the fact that the light colors (white, yellow, etc.,) are absolutely worthless 
when used on dark surfaces for the reason just explained; viz: — they do 
not cover. The result is a dim, "hazy" looking letter, without strength 
or character. Black Letterine is highly recommended by the writer for all 
work on a pure white surface. The other colors, however, are unsuit- 
able owing to their non-covering qualities. The third and last objection I 
have to Letterine is the fact that, when exposed to the sun, it fades very 
rapidly, and has a tendency to "cliip"' or "peel" off. The ai)0\-c faults may 
be easily demonstrated if you have any doubt as to the sincerity of these 
statements. Good water colors cost much less than patent preparations, 
which I offer as another and final argument in their favor. 

NOTE. — Quotations on articles recommended in this 
hook may be obtained by addressing the SUPPLY 
DEPARTMENT OF THE DETROPT SCHOOL 
OF LETTERIXG, DETROri', MICIL 



52 THE ART OF SHOW CARD WRITING 



Show Card Inks 



All dark colors of drawing inks may be used for small letter- 
ing and are especialy serviceable for price tickets. Inks cannot be applied 
successfully with the lettering brush, as they are too thin and, therefore, 
flow too freely. They are best adapted to pen work and are a necessary 
part of the equipment of the card writer. Card board inks should be of 
the very best quality. The black should be densely black so as to cover 
perfectly. "Higgins' Eternal Black" is as good as any but the cost makes 
its use almost prohibitive. Crow Black is equally as good and sells for 
about one-half the price charged for other standard makes. Crow Black is 
manufactured expressly for the Detroit School of Lettering, by whom it is 
sold exclusively. It is water and gasoline proof and is, therefore, espe- 
cially recommended for architectural and mechanical drawings, because 
lettering on work of that kind must be "wear-resisting" and waterproof. 



Asphaltum 



Asphaltum is a thick, transparent color that dries very rapidly 
and leaves a very brilliant gloss. It is classed among oil colors. It is 
used principally when a very glossy letter is desired. When asphaltum is 
used, the letter is first outlined with water color black and then filled in 
with asphaltum, using it as thick as possible, as the addition of too much 
turpentine (with which it must be thinned) will destroy the gloss. It is 
not a water color in any sense of the word. 

Having explained the kind of brushes, colors, inks, pens, etc., necessary 
in the work of the card writer, I will now take up such other tools and 
materials as are used, after which I will explain the methods required to 
obtain various up-to-date effects. 
CARDBOARD. 

The regular size, or what is called a "full sheet" of card 
board, is 22 inches by 28 inches. A half sheet card is 14 by 22 inches and 
quarter sheets 11 by 14 inches. One-eighth sheets are 7 by 11 inches. By 
following these dimensions the card can always be cut without waste. 
When quantities in smaller sizes are desired, the dealer from whom the 
cardboard is purchased will cut it any size required for a trifling additional 
sum. It is not advisable to cut sheets by hand as the edges are never 
as smooth as when cut with a card-cutter's knife. The full sheet cards can 
be obtained at almost any stationery or art store. They can be bought 
to the best advantage from the wholesale paper dealer. Double sheets 
(28 by 44 inches) are very desirable at times for large signs, obviating the 
necessity for pasting together, in which case the joint or seam is always 
perceptible. If the large size cannot be obtained (as is often the case), 
you can make a reasonably satisfactory job by placing two cards side by 
side as follows : 



THE ART OF SHOW CARD WRITING 53 

Trim very evenly the edges of the cards that are to be joined and then 
butt them together as shown in Fig. 43. Cut a strip of cardboard about 
three or four inches wide and fasten securely to the back of the cards 
with a strong adhesive, as shown in Fig. 43, being very careful to see 
that the cards meet or join perfectly before applying the strip, which acts 
as a binder. 




Fig. 43. 



The best white cardboard to use is finished with a glossy, glazed or 
coated surface on one side. This finish makes it very desirable in case 
of error, as the coati.ng may be easily removed with a sharp knife-blade. 
Some cards are coated on both sides ; others are the natural pulp color 
or grayish white. Cardboard for average commercial purposes should be 
about eight ply, or heavy enough to stand on edge, without curling or 
bending. 

Colored cardboard is nearly all finished with a dull *'*flat" surface, 
which readily absorbs moisture, and is, therefore, especially adapted to 
the application of water color. It may be obtained in about twenty dif- 
ferent colors and is made in the full sheet size only. Tinted cardboard (i. 
e., light shades of the pure colors) is usually the same color on both sides, 
and can be obtained in several thicknesses. Thin cards are always unde- 
sirable. 

MATBOARD 

Matboard is used extensively for border or frame effects, 
and can be obtained from picture frame dealers. It is finished with a dull, 
**pebbly" surface, and forms an excellent contrast when combined with the 
smooth surface of the inner card. It may be obtained in full or double 
sheets as desired. Owing to the rough surface of matboard, it is not 
suitable for lettering purposes. 

"^The term "Flaf, as applied to paints, means a dull 
surface without a particle of gloss. V^ 



54 THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 



PHOTOGRAPHERS' 
CARDBOARD 

This cardboard is best adapted to permanent work as it 
is very thick (not less than ten ply) and the surface is sufficiently hard 
to permit the use of the pen. It may be obtained in various sizes and is 
usually finished with a bevel. Small photo mounts make very neat and at- 
tractive price tickets. Card beveling is a business by itself, and should 
not be attempted by the novice. Cardboard signs may be cut into any 
shape or design to please the fancy of the letterer, being careful to have 
the pattern designed so as to accommodate the inscription nicely and in 
keeping with the purpose for which it is to be used. An extremely fancy- 
shaped card, for instance, bearing a memorial inscriptio.n, would look de- 
cidely out of place. A card announcing a sale of cut flowers, o.n the other 
hand, could be very ornamental in outline. As I have stated, cardboard is 
usually cut into quarters, halves, etc., for economical reasons, but as the 
material is inexpensive a good rule to follow is to design the form and size 
of the card to accommodate the inscription to the best advantage. Fig. 
44 shows a large variety of different shapes suitable for small price tick- 
ets. 

ARTIFICIAL 
FLOWERS 

Artificial flowers are used extensively by the up-to-date 
card writer for decorative purposes. They are fastened to the cards by 
means of a thin wire run through the cardboard and twisted together 
on the back. 

FOUNTAIN 
AIR BRUSH. 

The work that can be accomplished by this simple instru- 
ment is not only beautiful but very attractive. It is now a necessary 
part of the equipment of the card writer catering to modern requirements. 
Air-brush work is in evidence on every hand, and it deserves its popular- 
ity. The instrument is easy to manipulate and wo.nderful effects can be 
obtained with it. It is used extensively by lithographers and engravers, 
also portrait artists and photographers. It is especially serviceable for all 
kinds of work whereon shading effects are desired. It is an old invention 
used for many years by portrait artists exclusively, but has recently been 
greatly improved. It has a marvelous capacity for applying color and dis- 
tributing large quantities in a very short time, and yet it is adjustable for 
the finest line. Air-brush work will undoubtedly be very popular for 
years to come, as the limit of its usefulness has not nearly been reached. 
It is most desirable for signs that are done in duplicate, triplicate, etc., i. 
e., a great many alike. The reason for this will be explained later in 
this work. On page 50 you will liiid an illustration ( b'ig. 4.j) show- 
ing the style of the instrument, one-half actual size. Fig 46 shows the air 



56 



THE ART OF SHOW CARD WRITING 







Fig. 45. 




Fig. 46. 



pump and tank which is used to supply the pressure and make the ink 
flow. Full directions are sent with each instrument. The air brush is 
quite expensive, the cost ranging from $30.00 to $60.00. It is practically 
indestructible and, with proper care, may be used for years. The instru- 
ment illustrated in the figure greatly excels the old style, both in speed 
and quality of work, the volume of spray being three or four times greater 
than that made with any other brush. For detail work, the pencil posi- 
tion permits much more freedom, and better execution is thus obtained. 

ATOMIZERS. 

Atomizers may be used for spraying designs on a card. 
The work they will accomplish, however, is not nearly as satisfactory as 
that obtained through the use of the Air-brush, for the reason that the 
spray cannot be regulated. Atomizers may be obtained from most dealers 
in artists' supplies or at drug stores. There are two kinds — one which op- 
erates by placing the end in the mouth and blowing through a tube 
which meets another at right angles. One end of the other tube extends 
into the bottle holding the liquid. 

The other kind of atomizer is just an ordinary perfume holder with 
a bulb which is held in the palm of the hand. The pressure on the bulb 
regulates the strength of the spray. Good drawing inks (any color) may 
be used. The method of procedure will be fully explained in connection 
with the examples illustrated further on. 



:? S^O^y CARD ^\*RITIXG 



RAISED 
ORNAMENTS 

p:c:ure :r=~e it^'.tr^ keep them in stock. They are fastened to the card 
b:£.ri =5 :;'!:".-5 : S;rtii r!ue or any other strong adhesive over a piece 
c: r'lSE ;!::e .he :i:' :s :: .he : -r.aments on the glass and then press the 
:m~e.-:s :r.:: :he rh. e "': h i pair of pincers then place the ornaments 

in the oosition desired en the cs.rd "A cress f.mi!v until the adhesive is 



BRONZE 
POWDERS 

Bronzes are put up in :n; 
form: also, in cans ::n:i:n:rr zrzrr. 1 :: ^ 
in many colors, the piie r:ii ar.i a!u~.:r.u- 
inum 5: ' 



, 1 ,_ . „ ; 



O'unce pac--:ages :n povrcerea 
::u'ls. Thev can :e ohtai^ned 
:eir.? the most D00u!ar. -\!uni- 



plied in exactly the s; 
ready-mixed. They 5" 
are two kinds of goi i 



15 dry colors. They a 
rEt advantage on cari- 
'. : rimes, to-wit: 



Brilliant Gold 
Lettering Gcdd 

Brilliant Aiun: 



The '■briiiiant" hr.rre! a-e s:-:a!!ed lecause they are much brighter 
than the **lettering" : 1 : :htre::re, more nearly resemble gold 

and silver when appiiei They will not cover, however, unless mixed with 
about two-parts of i ..::_: bronze. The lettering bronzes are ground 
finer than the brilliant bronzes, which makes them cover perfectly. AMien 
applied, however, they have a dull lustreless appearance, which may be 
overcome slightly by adding one-part brilliant bronze as just stated. 
Other colored bronzes are made only in the brilliant iridrr. ird ire sel- 
dom used for card purposes because they do not cover vh 7 r r: re? 
should be removed from the paper in which they are put :n 

as purchased and kept in a bottle securely corked. \Mie: -1 :: the 

air, they collect moisture very rapidly, which soon brings a::ut a chem- 
ical change destroj-ing their lustre. 

Bronzes (except aluminum) are not suitable for permanent outside 
work; that is, they should not be used on signs that are exposed to the 
wea±er as they deteriorate quickly when placed in the open air, the ten- 



58 THE ART OF SHOW CARD WRITING 

dency being to turn very dark (sometimes black) in a very short time. For 
card work, gold bronze is the most suitable. It may be used to the best 
advantage for borders and ornamental w^ork; also, as a shade for the 
letters. On dark colored cards, it may be used for lettering. As stated, 
a few touches of bronze, judiciously distributed, will greatly enhance the 
artistic effect without adding much to the expense. 

The card writer's equipment is incomplete unless it includes an assort- 
ment of bronzes. 
FLITTER 
BROCADES. 

Flitter is made of the same material as bronzes, but in 
small flakes instead of powder. Being very brilliant, it is very effective for 
many kinds of decoration. It resembles flaky tinsel, and is sold by the 
ounce or pound as desired. Nearly all paint and art stores sell the follow- 
ing colors : 

Deep Gold 
Pale Gold 
Silver 
Blue Green 
Fire 
Purple 

Brocades show to the best advantage on signs intended for night or 
holiday display purposes. The little flakes sparkle and glisten like so many 
miniature diamonds when the card is placed in a position where the light 
will strike it. They are applied as follows : 

First place a large sheet of plain paper beneath the card. The letter- 
ing should be perfectly dry. Now with a small lettering brush or glass 
tube and a good, stro.ng mucilage, or LePage's glue, decorate the face of 
the letters, borders, etc., to suit your fancy. Decorate but a few letters at 
one time, as the mucilage dries and soaks in very rapidly. When you have 
embellished a few of the letters, pour on enough of the brocade to cover 
the mucilage completely. Continue this until the entire sign has been dec- 
orated, and then let set for a few minutes, after which dust or shake off 
the superflous material; — that which does not adhere. The mucilage, or 
adhesive, can be prevented from drying too quickly by adding a few drops 
of glycerine. And if the mucilage or glue becomes too thick, it can be 
thinned by adding a few drops of vinegar. 

If you desire to decorate the card with two or more colors of the bro- 
cade, repeat the above process after you have applied one color. The card 
should then be allowed to stand for several hours before handling again. 
DIAMOND 
DUST. 

This material has every appearance of being just what 
the name implies. It resembles brocades very much except that it is pure 
white. It is applied the same as flitter, and is particularly appropriate for 
Christmas cards. By decorating the tops of the letters as shown in Fig. 
47, the effect of the frost and snow can be closelv imitated. 



THE ART OF SHOW CARD WRITING 



59 




60 THE ART OF SHOW CARD WRITING 

ADHESIVES. 

LePage's glue, which is put up in small screw-top cans, 
also in 10c and 25c bottles, is indispensable to the card writer. It may be 
used for uniting two or more cards as explained on page 53, also for 
securing them to frames, and to attach all kinds of raised ornaments, etc.. 
It is perhaps the most reliable adhesive on the market. Instructions rela- 
tive to applying, thinning, etc., are printed on the label attached to each 
can. 

Plain cardboard is sometimes covered with fancy papers of various 
colors and designs, some examples of which are shown in Figs. 48 and 
49. When this is done, a common, ordinary flour-paste, such as used^' • 
paper hangers, will answer the purpose. The paper should be libera 
and evenly coated with paste, using a soft, wide brush, and the wrinkles re- 
moved with a clean, soft rag and the palm of the hajid, rubbing the paper 
toward the edge from the center. Weights should then be applied until 
dry. 

The preceding list of materials comprises nearly everything that is ab- 
solutely necessary in the every-day work of the card writer. New effects 
are constantly being originated and new methods are continually being de- 
vised. Novel and attractive effects are steadily sought by ambitious mem- 
bers of the fraternity. It is likely that, before the ink on this book 
is dry, quite a number of new and practical ideas will have been originated. 
You should try to be original. Experiment with various materials until 
you finally run across something that is attractive. Always be careful to 
consider the cost of production. In seeking new effects, do not allow your 
enthusiasm to overbalance your judgment. Any effect that is attractive 
and can be produced at a trifling expense, is practicable. Any new method 
that will produce the best results in the shortest time, will receive instant 
recognition. The most desirable style of card for the average business 
purpose is white with black lettering. Shading and ornamental features 
are the next step from simplicity and should be indulged only with careful 
consideration and "good taste." In the following article, you will find 
some good advice with reference to "inscription designing" as applied to 
card signs. 



Laying out the Inscription 

METHOD OF 
PROCEDURE 

Card signs, like all other signs, should always present a 
neat, clean appearance when finished and ready for deliver\% regardless 
of the style of execution. The more the lettering is slighted, the more ne- 
cessity for observing this caution. For this reason, it is very important 
that the medium employed to lay out, or mark out, the inscription or read- 
ing matter should be made of a substance that may be easily removed or 
erased. You should obtain for this purpose, a good grade of Artists' 



THE ART OF SHOW CARD WRITING 



61 




62 



THE ART OF SHOW CARD WRTFING 




THE ART OF SHOW CARD WRITING 63 

Charcoal, which can be purchased from art dealers, and is made in various 
grades and sizes. The best for ordinary work is known as Contes' French 
Charcoal. Each box contains fifty sticks six inches long. The sticks 
should be sharpened to a fine point and applied to the card very lightly, 
making the marks just as faint as possible. When the lettering is dry, all 
traces of the charcoal can be ijistantly removed with a soft cloth or feather 
duster. White chalk sharpened and manipulated in this manner is the best 
material to use on dark cards. Cut the narrow end of the chalk into a 
sharp wedge shape. Dip about one-fourth inch of the chalk into water 
and withdraw it quickly. It will then make a fine neat line which can be 
readily erased with a rag or a sponge rubber. It will not injure the card- 
board. 

Lead pencil marks carmot be easily erased, especially from a glossy 
surface. When it is necessary to use a lead pencil, select one with a very 
hard lead and apply the marks very lightly. 

Straight lines should always be favored when arranging or laying-out 
the inscription. Letters placed in straight lines not only read easier but 
give to the sign a "balance" difficult to obtain when curved lines are used. 




Fig. 5U. 



Sometimes, as shown in Fig. 50, where a short and unimportant word 
precedes and follows the display line, the curve is not only handy but desir- 
able. Avoid the use of curved lines to any great extent. 



04 THE ART OF SHOW CARD WRITING 




SHOES 



While t/ou wavt. 




Fig. 50- 



THE ART OF SHOW CARD WRITING 65 



How to Correct Errors 

The best workmen frequently make errors. Mistakes are ex- 
pensive, necessitating erasing one or more letters. It is perhaps needless 
for me to caution you against making them. The best way to avoid er- 
rors is to mark out each letter distinctly, and then read over the inscription 
carefully before you begin the work. It is not necessary to mark out the 
lettering perfectly; simply show a faint or indistinct form of each individual 
letter. To read over the inscription carefully each time after it is laid out, 
will require only an extra minute or two. The time thus lost will be time 
saved in the end. Errors can be rectified in most cases as follows : 

If the card is white, take a sharp pointed pen knife, or steel ink eraser, 
and carefully scrape the letter or letters until the surface or coating of the 
board is completely removed. Be extremely cautious .not to penetrate 
below the glazed coating. When the color is entirely obliterated, rub the 
scraped surface with a small piece of very ii-ne sand paper. This will 
smooth the rough edges, if any, after which polish, or burnish, the spot 
with your thumb nail. If the error is made o.n a dark card with a glazed 
surface, the letter may be removed with a damp cloth. If this method is 
used, the operation must be very quick, for the reason that the cards them- 
selves are coated with water color, and the background is apt to rub up if 
the wet cloth is applied more than two or three times. 

If the error is made on a tinted card, such as light blue or light pur- 
ple, it will be necessary to match the color of the card (having previously 
removed the letter with a sharp knife as explained) and then recoat the 
soiled surface. Mistakes on tinted cards are sometimes nicely remedied by 
painting a panel over the entire word line. In Fig. 50^ this method 
is illustrated. On the lower card, you will observe a mistake in the spell- 
ing of the word "SHOES." The upper card in this figure looks much bet- 
ter than the lower one. thus proving that the card as a rule is more attrac- 
tive if the mistake is corrected in this manner. This is one of the easiest 
ways out of a bad predicament. If an alteration is to be made on a black 
card, the lettering should be scraped off and the surface recoated with 
black water color. 

To remove pencil marks or dirt, use a sponge rubber dipped in pow- 
dered pumice stone, using but a little of the latter. Perspiration from the 
hand often makes a cardboard greasy. As water and oil will not unite, 
it is impossil)lc to make the color adhere to grease spots. To overcome 
this, mix a thimbleful of bicarbo.nate of soda (baking soda) and a table- 
spoonful of water and wipe the greasy surface with this. Another way to 
overcome an oily surface is to mix soap water with the color. A few drops 
of ox gall is another plan. The latter is seldom used because of its offen- 
sive odor. 



THE ART OF SHOW CARD WRITING 



M, 



argms 



Unlike the average sign, showcards are intended to be read from 
a very short distance. They are used almost wholly for interior display 
and in show windows. It is, therefore, not necessary for the card sign 
to carry letters as large, proportionately, as the outside sign. Card signs 
should always have a very liberal margin ; much more than any other style 











t/iere is 











jS^^^soz?^3/e 



NECKWEAR 



Fig. 51. 



THE ART OF SHOW CARD WRITING 67 

of sign. By referring to the examples in this lesson you will find this idea 
uniformly carried out. The inscription should be well ''centered," that 
is, kept well in from the outside edge of the card all around. It is almost 
impossible to to go to extremes in this respect, as illustrated is Fig. .51. 
The wider the margin the better the card will look in the majority of cases. 
This matter, however, like all others, must be governed by sensible prin- 
ciples. 

Don't be "stingy" with the border or margin ; remember that the 
reader will be very close to the sign, and also that a small letter with lots 
of space around it is more co.nspicuous than a large letter, unless similarly 
handled. 



Borders and Scrolls 



Scrolls, lines, or any other styles of decoration used as a border 
should always be executed in a subdued color. By subdued I mean a shade 
or tint that is much less conspicuous than the colors used for lettering. 
This is in keeping with previous instructions relative to subordinating all 
ornamental features. The style of ornamentation is not so important pro- 
vided this rule is followed. The ornamentation around the letters may be 
very elaborate provided the colors are comparatively indistinct, thus not 
detracting from the inscription. 



HATS 



Fig. 52. 



68 THE ART OF SHOW CARD WRITING 

If the border is very heavy, massive or bulky, as in Fig. 50, the more 
the necessity for adhering closely to this rule; but, if it is delicate and 
light, the color can be proportionately stro.nger. Thus, bright red, blue or 
green, or any other piwe color may be used if the border is no larger, pro- 
portionateh% than shown in Fig. 52. 

In Fig. 53, I have shown a great many designs suitable for corners 
and borders, in nearly all of which you will notice the absence of straight 
lines or mechanical effects. To reverse any of these designs proceed as 
follows : 

Take a sheet of Manila paper a trifle larger than the design that is to 
be made and fold it in the middle. On the right side of the crease draw 
the design you select with a very soft pencil, or piece of charcoal. Reverse 
the fold so that the drawing will be face down on the left side of the paper. 
Then rub the back of the drawing with the palm of the hand until the pencil 
marks have been transferred to the blank paper below the drawing. Now, 
open the paper and trace over the whole design with a hard pencil to pre- 
vent its becoming obliterated, after which turn over the paper and rub the 
reverse or blank side all over with charcoal, if the design is to be trans- 
ferred on a white card, or with chalk for a dark card. Then place the de- 
sign face down in the position desired o.n the card and repeat the tracing 
process, using a hard lead pencil. The pressure of the hard pencil will 
transfer the soft lead marks to the card. Upon removing the paper, a 
thin and perfectly duplicated outline of the design will be found on 
the card. Transfer carbo.n paper can be used for this purpose just as 
effectively and with great saving of time. 

Patterns for raised panels, price tickets, etc., are made in the same 
manner, except that the design should be transferred onto a heavy piece of 
cardboard and then cut out with a pair of scissors. By running a sharp 
lead pencil around the edges, you will be able to duplicate as many as you 
desire. All sorts of designs, scrolls, etc., may be multiplied by this method. 
Reversing the scroll does not lessen its beauty, as you will note by turn- 
ing Fig 53 upside town. You should practice reversing the position of 
scroll designs as much as possible. The sooner you become proficient in 
this, the quicker you will be able to do away with the pattern method, 
and thus effect a great saving of time. On page 70 (Fig. 54), you wnll 
find a large variety of what I call "filling-in" scrolls. Those to the right 
are best adapted to filling space at either side of a word or line; those to 
the left may be most advantageously used to separate an inscription, or to 
mark the end of a paragraph. 



THE ART OF SHOW CARD WRITING 



69 




^J 





Fii,'. 53. 



70 THE ART OF SHOW CARD WRITING 




Fig. 54. 



THE ART OF SHOW CARD WRITING 71 



Ornamental Panels 



The style of scroll illustrated in Fig. 57 is called "Rococo." It 
is the most popular scroll used by the letterer and designer. You wfll 
observe, by referring to the examples in this lesson, that this style of scroll 
is used very frequently. The reason is apparent at a glance. The 
specimens are sufficient to prove conclusively the endless variety of com- 
binations which are possible with this scroll. Panels which are used 
for raised effects and which are cut out, must necessarily be of the 
plainer sort, as the time required to cut an elaborate design would make 
its use usually prohibitive. The styles suitable for this purpose may be 
found in a large number of examples in this work. 



Fancy Initials 



Fancy capitals or initials are used very frequently for embellishing 
purposes. In this work, you will find a large variety of dainty examples. 
The color combinations suitable for the various designs are as follows : 

(A) Leaves, light green; letter, bright red; outline gold. 

(B) Background, dark green; letter, white; outline of letter, 

black ; border on panel, gold ; scrolls, light green ; inner 
border line, light green. 

(C) Letter, ultramarine blue ; background, very light blue 

stripes, white; scrolls, gold. 

(D) Rosette, light purple or violet; rays from center, 

darker shade of purple ; circle, gold ; letter, blue. 

(E) Letter, dark red; scrolls, light green. 

(F) Letter, black ; scrolls, gray. 

(G) Rays, gray; letter, black or blue; outline, gold. 

(H) Letter, white; center of panel, medium shade of blue; 

border of panel and ornaments, gold. 
(I) Letter, dark green; background, light green; white 

outlines, a shade lighter than the background ; scrolls, 

darker shades of background. 
(J) Background, light brown; scrolls, dark brown; letter, 

black. 
(K) Ornaments, very light yellow; letter, orange; outline, 

dark red. 
(L) Outline of letter, dark blue; ornaments in center of 

letter, light blue; stripes, gold. 
(M) Letter, black; outline, dark gray, background, light gray. 
(N) Letter, gold; outline, black; background, two shades 

of gray. 



72 



THE ART OF SHOW CARD WRITING 






I 






^=4 




K 




<i^' 





o 




^ 



L 




3 





THE ART OF SHOW CARD WRITING 




74 THE ART OF SHOW CARD WRITING 

(O) Rosette, white; circles, light blue; letter, dark blue, 
CP) Letter, dark blue; ground back of letter (represented 
by the lightest shade of gray), very light blue; ribbons, 
very light blue ; ornaments suspended from the ribbons, 
very light blue; ribbons and main panel outlined with 
medium shade of blue ; scrolls around the letter, white 
or gold ; background of rear panel, lemon yellow ; 
border on rear panel, gold. 
(Q) Ornaments, pink; letter, very light blue; outline on 

letter, very dark blue. 
(R) Letter, white; background, light shade of olive; stripes 
on background, darker shade of olive ; small ornaments, 
white or gold ; outline on letter, black. 
(S) Background, lilac; letter, purple, 

(T) Wreath, light green; outline on wreath, olive green; 
Elliptical panel, gray; highlight on letter, white; shade 
on letter, black or dark green ; background to pedestal, 
light green ; ornaments and outline on pedestal, dark 
green. 
(U) Background, orange; letter, blue; outline, lemon yellow. 
(V) Letter, orange ; outline, dark red ; panel,very light blue ; 

dark ornaments, gold; light ornaments, white. 
(W) Letter, light blue; outline, dark blue; ornaments, dark 

gray. 
(X) Letter, white; background, two shades of blue, dark 

and light. 
(Y) Background, gold; letter, black; outline, black. 
(Z) Background and scrolls, silver; letter, medium shade of 
blue; face-shade, dark shade of blue. 
The above combinations may be alternated or varied for any of the 
letters. You will note that the strongest or brightest color is, in nearly 
every case, the one used for the letter. I mention this to emphasize again 
the importance of subordinating ornamental features. 

Monograms, a large number of examples of which are included in this 
course, may be, and should be, treated in the same manner as fancy cap- 
itals. 



Poster Embellishments 

Pictures, engravings or designs cut from posters, newspapers, 
lithographs, magazines, calendars, etc., may often be used with telling 
effect. You should never overlook an opportunity to clip and save an 
attractive design. Surround yourself with a large and choice collection 
of designs. Appropriate pictures should be selected and pasted on the 
card with flour paste or photo paste in such a position as not to interfere 



THE ART OF SHOW CARD WRITING 



75 




76 



THE ART OF SHOW CARD WRITING 




Fig. 58. 



THE ART OF SHOW CARD WRITING 



77 




78 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 79 



with the inscription. Painted scrolls, flowers or other ornamentation may 
then be used as a border or frame work for the pictures to bring them 
into relief as the design ma}^ require. To illustrate the many handsome 
effects that can be obtained through .the use of clippings, I will call your at- 
tention first to Fig. 57. The picture on this design was clipped from 
a popular magazine advertising a well known cereal. The reading matter 
in connection therewith is quite appropriate, and the picture not o.nly 
gives the de.^ign a very attractive appearance but adds weight to the read- 
ing matter. Fig. 58 shows a half tone of an automobile, which was also 
clipped from an advertisement in a magazine. Here, too, the reading matter 
is strengthened by the addition of the engraving. The automobile in Fig. 
59 is a clipping pasted onto the painted background. The effect is 
splendid. The name of any other automobile could be substituted for the 
word "Columbia," and the card used to advertise motor cars with splendid 
effect. Fig. 60 is another pretty specimen. 



Practice Work 



For practice purposes, provide yourself with a good grade of 
Manila wrapping paper. When you practice the various styles most suit- 
able for cards, remember that show card work is not presumed to be ex- 
ecuted with the same careful attention to detail as that which is required for 
permanent sign work. There are several terms used by judges of good 
lettering to express their approval of a given piece of work, among which I 
will mention the words "dash," "snap," and "character." I will, perhaps, find 
it .necessary to use these terms quite frequently, and therefore, I feel that 
I should first explain their full significance. The first two terms practically 
mean the same thi.ng. The last means, just what 3^ou have perhaps sur- 
mised. A letter without "character" means a "shabby," "slovenly" or "tired- 
looking" letter, on which one or more of the spurs do not fit (too long 
or much too short maybe) — a letter whose body is not uniform (too fat or 
too thin in places) or which is "deformed" (an effect easily produced 
through carelessness in proportion). Thus a letter to have character must 
look bold, stand erect, be graceful and well proportioned and in every way 
be a credit to itself and surroundings. 

Letters that are characterized as "dashy" or "snappy" must not look 
like they were "machine-made." Printer's type are the machi.ne made kind 
of lettering. Type letters always look stiff and clumsy, due entirely to their 
exact and perfect, clean-cut proportions, and the absolute precision of the 
outlines. The hand-made letter is usually easy to distinguish. In it, the 
stiff, even, perfect lines are absent to a large extent. The less the number 
of strokes used in the execution of a letter, the more "snappy" it will 
appear, provided, of course, you do not carry this idea to extremes. To 
enable you to understand the full import of this, I have shown an example 



80 THE ART OF SHOW CARD WRITING 

of "machine" or type letters in Fig 61. Next refer to Fig. 62 wherein 
you will notice an example made by hand with a No. 8 brush. You 
will observe that the letters in the hand-made example are not perfect by 
any meaos. Some of the spurs are a trifle longer than others, and not as 
square and clean-cut as the "type" letters. The effect from an artistic view- 
point, however, is much better, as the letters have the "snappy" effect to 

MACHINE 

MADE 



Fig. 61 



HAND 
MADE 



Fig. 62. 



THE ART OF SHOW CARD WRITING 81 

which I have referred. They appear to have been executed easily and 
hurriedly. All letters executed rapidly and without the careful, studied, 
preliminary preparation, (usually seen in the work of the novice) will al- 
ways possess the characteristics to which I refer. 

Try, then, to have your work "snappy.,' Crowd your designs chock 
full of "character." Give them a "dash" that will identify them instantly 
as the product of an expert. To have your work exemplify these char- 
acteristics, requires a knack that can only be acquired through practice. 
Don't give up until you have reached the highest point of perfection in 
brush manipulation. Do not forget, however, that the above instructions 
may only be appropriately applied to work of a temporary nature. Per- 
manent signs should always carry a very clean-cut and perfectly propor- 
tioned letter. 



Japan and Oil Colors 

Cardboard signs for outside purposes should always be lettered 
with japan or oil colors. Japan colors are those mixed or ground in japan 
exclusively. Oil colors are mixed with oil only. Either kind may be pur- 
chased of most paint dealers in one-half and one pound cans. Japan colors 
dry almost as quickly as water colors, and should be used only in such quan- 
tities as may be needed for the time being. They should be thinned with 
turpentine. Keep a little turpentine over the top of the color when not in 
use. Oil colors can only be used to advantage o.n cardboard with a glossy 
surface. The glazed finish prevents the oil in the color from spreading 
beyond the letter. If oil colors are used on cardboard without a glazed 
surface, the oil in the color will spread, thereby ruining the work. Oil 
colors cost about one-half as much as japan colors, and do not dry out 
and get hard as do the latter when they are accidently or carelessly left 
uncovered. Always add a liberal quantity of japan dryer (liquid) to 
oil colors to insure drying. Thin with turpentine and mix only a small 
qua.ntity at one time. 

Oil and japan colors emit a disagreeable odor and are exceedingly 
difficult to remove from the hands or anything else on which they are 
placed, either intentionally or accidentally. I advise you and all others 
taking up showcard work as a specialty, to let them alone entirely. It 
is seldom that you will be asked to execute a sign on which such colors are 
used. You will, therefore, lose little by following this advice. 



Mounting Cardboard 



Half and full sheet cards, intended for indefinite service, will 
look better and wear longer if mounted on frames made of soft pine wood. 
Strips about J^ by 1 inch thick will do for the small sizes. For whole 
sheets the wood should be two inches by one inch. The frames should be 



82 THE ART OF SHOW CARD WRITING 

made with mitred corners. To fasten the card to the frame use good 
strong glue, liberally applied to the face of the wood. Moiste.n the back 
of the card with a clean sponge, after which give the edge of the back 
of the card a coat of glue. The glue should be allowed to stand for 
several minutes before the card is placed on the frame, to give the glue 
a chance to become tacky. Heavy weights may now be put on the card to 
keep it in place and allowed to remain for several hours. Wetting the 
cards serve to shrink them. When they dry out the surface will be per- 
fectly smooth and taut. The frame will look more attractive if the ex- 
posed edges are given a coat of color, preferably a medium grey. Gold 
or silver bronze will also look well. Another inexpensive finish may be 
obtained by covering the frame with wall paper scraps or remnants which 
may be obtained in endless variety of dealers, simply for the asking. Wall 
paper may be used for a great many decorative purposes in the work of 
the card writer. It is best to finish the card before it is pasted to the 
frame. Use care in handling as the cards are easily soiled and torn. Keep 
your hands clean and thereby save lots of trouble. 



Circles 

Most card writers have a large wooden compass capable of 
drawing a circle at least 24 inches in diameter. Small circles may be 
draw.n with a regulation drafting instrument with extension attachment. 
In the absence of either, a perfect circle (any size desired) m^^y be drawn 
with the aid of a piece of string, looped around a nail or thumb tack as 
shown in Fig. 63. 

To execute a true circle quickly with the brush, drive a pin or nail 
through the center of the card and then turn the card to the right and 
left several times until it will revolve easily. Next, make a loop at each 
end of a stout piece of string; place o.ne loop over the head of the nail; 
fill your brush with color in the usual manner and pass it through the 
loop at the other end of the string, as shown in Fig. 63. Keep the brush 
in a perfectly upright position so that the point only rests on the card. 
This will insure a fine even line. While holding the brush so that the 
string will be taut, turn the card to the left until the circle is complete. 
The size of the circle may be varied by increasing or decreasing the dis- 
tance between the loops in the string. The size of the brush stroke may 
be mcreased by slanting the handle of the brush toward you a trifle, thus 
allowing the brush to rest on the side instead of the point. 

Border lines are ruled as shown in Fig. 64. Here also the brush is 
maintained in a perpendicular position for fine lines and slanted accord- 
ing to the width of the strokes desired. 

These methods of execution are great time-savers, and must be 
mastered before you can consider yourself adept. There are a great many 
"short-cuts" and tricks of the trade which I will explain as occasion re- 



THE ART OF SHOW CARD WRITING 



83 




Fig. 63. 



quires; but, before calling attention to another one, let me impress this 
upon you. To accomplish the most in the least time should be your con- 
stant aim. You can never hope to rank with the best until you have 
acquired the knack to do this or that by the quickest method. None of the 
practical methods are really difficult ; in fact, thev are comparatively 
simple tasks. If you are an average person, you can soon master the 
most difficult part of your work, to wit : Iwzi' to space and propor- 
tion letters correctly. The practical part of your education is much 
the easiest to acquire. Practice will accomplish wonders. All that 
you need is the spirit : 'T will." You should not infer from this 
that years or even months of persistent effort are necessary to reach a 
satisfactory stage of proficiency. On the other hand, you will find that 
the knack necessary in connection with the stri.ng methods, for instance, 
can be acquired in just a few minutes of faithful practice. Don't become 
discouraged because you fail at the start. Don't quit because you think 
the method is too hard. Don't say to yourself "I'll do it my way this 
time and try the right way later on." Don't make excuses to yourself. 



84 



THE ART OF SHOW CARD WRITING 




Fig. 64. 



When you think you have reached the limit of your patience, and success 
seems as far away as ever, you will suddenly find that the knack or 
ability has come to you unexpectedly, and apparently, without a moment's 
warning. To accomplish ajivthing with the hands, requires more or less 
skill. To pare a potato quickly and without waste, is quite a feat and can 
only be accomplished through practice; yet, how reluctant you or I would 
be to admit that we could not soon become expert at potato peeling. The 
brain directs, the eye guides and the hand performs. You can soon train 
your hand to respond quickly and accurately to the bidding of your 
brain. Do.n't despair, but keep everlastingly at it. Remember you can if 
you will. 

Now note the position of the hand in Fig 64. You will observe that 
the ball of the first joint of the little finger rests against the edge of the 
cardboard, and that the end of the third finger rests on the top of the 
card very close to the edge. The second finger acts as a brace to hold 
the brush in a steady position. The top of the card should be raised and 
held in the left hand at an angle of about 45 degrees. You then draw 



THE ART OF SHOW CARD WRITING 



85 



the brush rapidly along the edge. Keep the brush and fingers perfectly 
rigid. Don't allow either to relax for an instant. The brush should be 
held in a vice-like grip. Just as soon as you can train your hand to main- 
tain a fixed position you will have acquired this knack. 

As already related, a piece of string can be used for drawing circles, 
ellipses, and also for executing circles either with brush or pen. This 
little, inexpensive article is one of the handiest things imaginable in the 
workroom or pocket of the workman. I will now explain another method 
-of inanipulation by which all straight lines may be quickly drawn, obvi- 
ating the use of iH-easurements and straight edge. This method is one of 
the greatest time-savers conceivable. By it, all vertical and horizontal 
lines may be drawn in much less time than it takes to explain it, provided 
the top or bottom of the sign is straight, thus giving a reliable guide. 
This is the only requirement. All lines drawn by the string method will 




Fig. 65. 

parallel the guide line. To use the string for this purpose, tie a loop at 
the end of the string through which place a piece of crayon or pencil. 
Hold the pencil between the thumb and forefinger. The other end of the 
string should be held between the thumb and forefinger of the left hand, 
as shown in Fig. 65. The thumb and forefinger of the left hand should 



THE ART OF SHOW CARD WRITING 



be placed beneath the edge of the sign and kept in a rigid position. If 
the under edge of the sign is inaccessible, place the sign on a ledge so as 
to form a right angle with the sign. The fingers holding the lower end 
of the string should now be run along, or in, the groove thus formed. 
Mark with dots the points where 3^ou desire to draw the lines, and then 
begin at the left side of the sign, keeping the string taut and moving both 
hands simultaneously to the right. The string must be kept perfectly 
perpendicular, otherwise the line will sag to the right. 



Shading 



I have said that absolute precision in card work is not necessary. 
This applies to the shade as well as to the letters and all embellishments. 
To execute a shade correctly o.n some letters (exactly as the rules pre- 
scribe) requires more time than to execute the letter itself. Our object 
is to get a good effect without unnecessary work. If you will refer to Fig. 
66 vou will notice that the shade between the letters M and A is discon- 



MAUL 



Fig. 66 
nected. This shade was made with a flat brush with o.ne-stroke. To join 
it would necessitate several strokes for it would be necessary, on account 
of the narrow space between the lower extremities of the letters to use the 
point instead of the side of the brush. Such liberties are legitimate, and, 
if not carried to extremes, tend to give a piece of work that "dashy" appear- 
ance to which I have previously referred. Shading should always be 
do.ne with single strokes as nearly as possible. Use the side of the brush. 
Spread the brush so that it will come to a flat or square edge. When the 
space between the letters will not permit of the full width of the brush, 
do as I have illustrated in Fig. 66. All horizontal and vertical shades 



THE ART OF SHOW CARD WRITING 



87 



may easily be executed with one stroke. Where the shade is continuous 
as on the letter I in Fig. 67, both the vertical and horizontal strokes 
may be executed without removing the brush from the surface. A shade 
is a great help to a poorly written letter, as it serves to hide a great many 
imperfections, that would otherwise be very noticeable. The relief shade 
(illustrated in Figs. 66-6T-6S) is the most appropriate for all kinds 
of temporary work. A very liberal space should be allowed between the 
letter and the shade. Compare Figs. 68 and 69 and note how much bet- 
ter the effect is when the shade is set well awav from the letter. 




FU 




Fig. 68. 



88 THE ART OF SHOW CARD WRITING 



Soap Lettering on Mirrors 

Ytry effective work can be done on mirrors with a piece of com- 
mon laundry soap (brOwn), and the work can be removed quickly without 
damage to the glass. Cut a strip of' soap about two inches long, one inch 
wide and one-half inch thick, and then sharpen one end to resemble a 
wedge. The glass must be perfectly clean. Use the soap in exactly tb^ 
same manner as the flat brush or pen. Considerable pressure is neces- 
sary. Sharpen the point frequently. 



POOR 



Fig. 69- 



Stencils 



The stencil is a very effective time-saver when large quantities 
of cards bearing the same inscription are desired. It is used only for the 
largest letters in the inscription as a rule — those that cannot be executed 
rapidly with a single stroke. The stencil is made as follows : Take a piece 
of tough, medium-weight Manila paper the size wanted and give both 
sides a liberal coat of boiled linseed oil. When the paper is thoroughly 
saturated, allow it to dry for at least 24 hours. Then mark out the 
entire design on the prepared paper with a hard lead pencil. Next cut out 
the letters as shown in Fig. 70. The parts that are not cut out are called 
"ties." These are necessary to strengthen the weak parts of the pattern. 
The cutting is done with a good steel knife-blade sharpened to a fine 
point. Cutting into or through the ties should be avoided. When the 
stencil is cut, coat both sides with orange shellac. Then place the stencil on 
the card in the desired position and fasten with thumb tacks. To apply the 
color use a round, short, bristle brush. Dip the end of the brush only 



THE ART OF SHOW CARD WRITING 



into the color so as to keep the color on the outer surface of the brush. 
The color should be much thicker than required for lettering purposes. 
Pounce the brush up and down on the stencil until the exposed card- 
board is completely covered. The secret of success is the handling of 
the brush and color. If the color is too thin, it will extend beneath and 
beyond the edges of the letters. This will also be the case if the color is 
applied too liberally. When the stencil is removed, the blank spaces caused 
by the ties may be touched up by hand. Stencils are of no practical value 
to the card writer unless a large number of signs (all alike) are wanted. 
A small number can easily be executed by hand in less time than is re- 
quired to make the stencil. 



STEN 



Fig 70. 



Cut-Outs 



Another method that may be used to facilitate the work of the 
card writer, when several cards alike are desired, is somewhat similar to 
the stencil plan. This method, however, is only used to mark out the 
guide lines quickly. For this purpose, a pattern, called a "cut-out," is 
used. The method is very clearly illustrated in Fig. 71. The sample card 
(A) is first written, after which you place a piece of tissue paper over 
the design and mark thereon the exact position of the lines representing 
the limits of the lettering (B). Then place the tissue paper on another 
card the same size as the sample and trace over the lines with a hard 
pencil (C). The indentatio.n made by the pencil may be plainly seen 
when the paper is removed. The space showing the position of the letter- 
ing is then cut out with a sharp knife, as shown at (D). You 
may next place the cut-out on any number of cards and make a duplicate 
of the pattern by running a soft piece of charcoal around the edges of the 
cut-out spaces. This method is popular because it insures uniformity in 
all duplicates and also because the pattern can be made in a few moments. 



90 THE ART OF SHOW CARD WRITING 



Try Our 

De/jc/ous 

SODA 



« 



Jui 



^ODA 



^~ 






^ 




Fig. 71. 



THE ART OF SHOW CARD WRITING 91 



Plain Cards 



In Fig. 72 I have illustrated the most popular style of card for 
commercial work, i. e., white with black lettering. It is the most suitable 
for any line of business, and can be depended upon to give satisfaction 
nine times out of ten. Plain cards are the most desirable. Black and 
white is the strongest co.ntrast obtainable. The main thing to look after 
in all classes of sign work is legibility. This requirement is often neglect- 
ed. Rarely indeed wnl you hear a customer complain because 3'our work 
is too plain, or because of an absence of ornamental flourishes. A sign 
that cannot be read at a glance hardly deserves the name. Very few are 
attracted by ornate features on a piece of work. No matter how nicely 
a card is lettered, it can be rendered absolutely worthless by a super- 
fluous amount of scroll work. Be very conservative in the matter of 
fancy lettering. Study the examples herewith and you will observe that 
the fancy letters are used almost exclusively in the small or unimportant 
lines. Fancy combinations of letters are not the most telling by any 
means, although something depends upon the purpose in view. A card 
advertising your own business (card writing) might quite appropriateh 
be very decorative — much more so than that of a dealer in dry goods or 
groceries. 

Again, the surroundings should always be considered. Suppose, as 
an example, that you are requested to make a card to be used in connec- 
tion with a display of artists' materials or millinery. The lettering of 
course should, in any case, be very legible, but you could carry the orna- 
mental work almost to extremes, without any fear of criticism whatever 
Furthermore, the elaborate character of the ornamental work would be in 
keeping with the surroundings, and perhaps also in harmony with the 
inscription. 

To recapitulate, I will state that the general tendency of all sensible 
letterers, is to suppress ornamentation and avoid unnecessary details. 
keeping but one point in view, viz., pure simplicity. Always remember 
those who will be asked to read your signs — the public. Make your signs 
legible. 



What to Charge 



I would not consider thi- work complete in any sense of the 
word unless I gave you some advice relative to this matter. I have 
learned through the many requests received for information, that the 
average beginner is just as much in the dark as to what his work is 
worth, when completed, as he is with the various other subjects in this 
book. In truth. I might say. more >o; for. to my knowlelge, few students 
have the faintest idea a> to what to charge for their services. The 
general tendency is to quote too low instead of too high. 



92 



THE ART OF SHOW CARD WRITING 



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while the/ last 

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COATS 



INSPECTION 
IM-VITED. 



Fig. 72. 



THE ART OF SHOW CARD WRITING 93 



Before I had gotten fairly started in my chosen vocation, my esteemed 
employer gave me some wholesome advice which I have never forgotten. 
It was very terse and contained a world of meaning. This is what he 
said: "Always be sure to charge enough. Remember it is easier to come 
down than to go up." 

If I am not mistaken, this is a very old saying, and like most old 
sayings, full of sensible advice. Learn it by heart ajid never let it slip 
your memory. It means just this: 

Place a value on your work that will give you a satisfactory profit; 
one commensurate with your ability. If necessity requires, you can always 
modify your charge a trifle, but you will find it an exceedingly difficult 
matter to advance the price, if, through an error, due either to ignorance 
or carelessness, you make your first price too low. Many diplomatic and 
logical excuses may be offered in defense of the high price; but few for 
the low. 

A fixed scale of prices to govern all kinds of sign work has been 
adopted in some places, but the results have been far from satisfactory. 
If space permitted and it seemed necessary, I believe I could name one 
hundred good reasons why the product of the sign painter cannot be 
catalogued and listed the same as most other manufactured articles. On 
the assumption that a few will suffice, I will call attention to the most 
important, the first of which is this: THE INSCRIPTION CANNOT 
BE FORETOLD. The actual time necessary to execute, cannot, there- 
fore, be predicted nor estimated. Time is the most expensive item in the 
cost of any piece of work. If signs were divided into classes, that is, 
made only in regulation sizes, to carry a certain number of letters, and 
finished in a pre-arranged manner, it would be an easy matter to solve 
the price problem. But this is not the case, and perhaps never will be. 
The price of anything made by hand must be governed by the time re- 
quired to manufacture it. The materials are a secondary consideration in 
nearly every case. Signs exist in endless variety. Hardly two are alike. 
Scarcely any two carry the same reading matter. Seldom does the size of 
any two agree. Very rarely is the finish the same. Signs are painted on 
almost every conceivable material. They are made in all kinds of shapes, 
in nearly every size imaginable, on every surface possible to paint. Thus 
it is very difficult to estimate the cost of a sign until you are in possession 
of complete and explicit details relative thereto. 

With the card writer, the price problem is not so serious, for the 
reason that the work is not so varied as that of the sign painter. In the 
first place, the materials used are nearly the same the year round, and 
the sizes are limited. The cost of material is, comparatively, an unimpor- 
tant item, and, therefore, when you have learned to estimate the probable 



94 THE ART OF SHOW CARD WRITING 

time necessary to execute a certain word, a certain size, you will need no 
advice from anyone thereafter, as 3^ou will then be able to judge the time 
necessary to execute any ordinary inscription. Now remember this : 
Charge for your ability — not for material. I don't mean by this that you 
should ignore the cost of material, but rather, that the card and all other 
more or less expensive embellishments, such as flitter, artificial flowers, 
etc., are but trivial items as compared with your time. Insist upon a 
written copy in every instance. Never estimate the cost of a sign until 
you know the reading matter that is to be placed on it. Decide on a just 
remuneration for your labor and stick to it. Good workmen get good 
prices. Wherever this rule does not apply, there will be found a mitigat- 
ing reason; usually unreliability. Cheap prices and poor workmen can 
usually be found linked together. 

You cannot hope to obtain all your work is worth through quality 
alone. There are other things to be considered. The first is promptness, 
which really means reliability. You will learn very soon that the world 
is full of people ready and willing to pay, and pay well, for reliable service. 
Business men will not tolerate excuses. They insist upon a close ad- 
herence to promises. Be prompt. Never disappoint. Don't make a 
promise that you cannot fulfill. By combining good work with reliable 
service you are in a position to ask more, and reasonably expect more, 
for your product. 

Now, as to a fair price for your work at the beginning of your studies, 
it is unnecessary to state that the novice cannot reasonably or consistently 
expect to charge as much per hour or per day as the expert, because of the 
fact that he cannot accomplish as much in a given time. Therefore, until 
you have acquired the average speed, it will be necessary to govern your 
charges accordingly. Thus, if the expert is remunerated at a certain rate 
per hour, your labor would be worth one-half, one quarter or one-third 
as much according to the skill you have developed. This is a matter I 
must, therefore, leave entirely to your own judgment. 

Members of the lettering fraternity are agreed that $1.00 is a fair 
equivalent for an hour of work. This remuneration is based on steady 
employment and a business of your own. It should not be confused with 
an equitable wage, which is only about half of this amount, thereby allow- 
ing for fixed expenses and a fair profit on your labor to your employer. 

A piece of work that requires an hour of your time is thus worth 
$1.00 ; one-half hour, $0.50 ; one-quarter hour, $0.25. The latter price is the 
limit to which the rule may be pro-rated. I have always contended that 
it was worth at least the modest sum of 25 cents even to prepare for a 
certain piece of work. This means that you should make it a rule to 
obtain at least this amount for any piece of work irrespective of st\'le,_ in- 
scription, or purpose. If 3^our customer is not inclined to agree with you, 
make no charge whatever, but present it to him with j^our compliments and 
try to make up the small loss at some other time when it will not be 
noticed. The smaller the job. the greater the price should be proportion- 



THE ART OF SHOW CARD WRITING 



95 








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THE ART OF SHOW CARD WRITING 



ately. There is but very little difference in the time required to execute 
a word on a small or a large card, thus the small card is worth as much 
or nearly the same as the large one. This brings us right back to the be- 
ginning of this subject. "Charge for your work and not for material." 

Cards for ordinary business purposes average about the same all the 
time. Thus you could safely undertake to make all the cards desired by a 
certain firm or individual for a pre-arranged price per sheet or fraction 
thereof, with the proviso that the style is uniform, or, as mutually agreed 
upon. 

The cards shown in Figs. 73 and 73 represent the plain or average 
kind. These may be contracted for in advance, regardless of the probable 
inscription, for the prices given below : 

Full Sheets $ .75 

Half Sheets 50 

Quarter Sheets 25 

Eighth Sheets 15 

These prices are based on quantity lots; {not alike) that is, on the 
assumption that you are to receive a certain amount of work in a speci- 
fied time. You should ask the transient or occasional buyer about 25% 
more than the steady or regular customer. 

The prices above represent the minimum. They are as low as you 
can execute any kind of satisfactory work and make a fair profit. You 
now have something to guide you. This is as far as I can go into this 
subject for the reasons that I have previously given. Fancy signs are 
worth just as much more in proportion to the work and material neces- 
sary to produce them. In addition to the explanation of the examples 
in this book, I have placed a value on each. If, after reading the pre- 
ceding advice, you are still in doubt as to what to charge for a certain 
piece of work, I suggest that you compare it to a similar one herewith 
and charge accordingly. The price problem will not worry you for a great 
while. You know what your ability is worth. You also know better than 
anyone what you will be satisfied with. Don't be a cheap man. 



Examples and Methods 



PLAIN 
CARDS. 



On page 92, Fig. 7'2, you will find four cards illus- 
trated representing the limit of simplicity. Note how nicely they read and 
how the ornamentation is subdued. These cards are those to which I 
referred in the preceding article as the "average" kind. They are done in 
black and gray exclusively. The illustrations are exact duplicates of the 
originals, both in style and color. The small lettering was executed with 
a No. 8 Show Card Brush, and the large lettermg with a No. 12. Gray 
is a combination of white and black. A warm gray can be obtained by 



THE ART OF SHOW CARD WRITING 97 

adding a little red to black and white. Blue and white, with a little red 
added, also makes a very handsome gray, or neutral tint. The shading 
you will note is done exclusively in the relief st\-le. 

On page 95, Fig. 73, are four examples showing the effect that 
may be produced by using various colored cardboards. These cards are 
also the plain or average variet>\ Obser\-e particularly the card with the 
black groimd and pure white letter. Note the absence of ornamental 
work, and the strong contrast. Some firms use this st3-le of sign exclu- 
sively. Others select the plain white card with a pure red or black letter, 
without ornamental embellishments. I wish also to call your attention to 
the large, ''roomy' margin that is shown in these examples ; and, in fact, 
in nearly all other examples in these lessons. The combination of colors 
shown in these cards, i. e.. white, black and uray. produces a very neat 
and dignified appearance. This combination can always be used without 
fear of criticism. It is, therefore, very popular. In the "Children's 
Wear" sign, bright red could be substituted for the white in the upper 
line. This would tend to attract attention and give more prominence to 
the display line. The underlining on the "Fashion' sign, if done in red, 
would serve to emphasize or give force to the inscription. Presuming 
that all of these examples represent full sheets their commercial value 
would be 75 cts. each, and parts of sheets as previously quoted. 



POSTER EM- 
BELLISHMENTS. 

The pictures on the examples in Fig. 5S' (including the 
"Auto" on the "Columbia" sign) were clipped from magazines and news- 
papers. The examples contirm without further comment the truth of pre- 
vious suggestions. They not only enhance the artistic effect, but 
convey a very clear idea of the inscription. The st\-le of the "Columbia" 
sign suggests the use of black, white and blue only in order to obtain the 
cold effect that predominates throughout. The center of the letters in 
the word "Columbia" could, however, be shown in a bright red with ef- 
fective results. Blue would harmonize with the surroundings as it is a 
cold color. The ornamental features in the "Toggery" sign, if done on a 
gray ground, should be either a light shade of gray or a very light shade 
of green. A blue-green outline around the lower panel would look well, 
provided the lettering is done in bright red. A pretty shade of light green 
can be obtained by adding just a small amount of chrome green (light) 
to pure white. Blue-green is a mixture of blue and green. This can be 
toned with white to obtain lighter shades. The "Outing" sign should be 
done in warm colors — those suggesting the summer months — an orange 
letter outlined with white would look beautiful. For the black ornamen- 
tation shown in the example, substitute a dark brown, and for the remain- 
der of the ornamentation use a lemon yellow. I suggest light green for 
the small lettering. Lemon yellow is a mixture of chrome yellow (light) 



98 



THE ART OF SHOW CARD WRITING 




Fig. 74. 



THE ART OF SHOW CARD WRITING 




Fi^. 75. 



100 



THE ART OF SHOW CARD WRITING 




Fij 



THE ART OF SHOW CARD WRITING 101 

and white. Brown is made by combining red and black. These exam- 
ples represent the first step beyond simplicity. The addition of the poster 
embellishment makes them worth a little more than the plain variety; full 
sheets, (plain poster embellishment) $1.00; halves, quarters and eighths in 
proportion. 

Figs. 74, 75 and 76 show the extremes to which the poster idea may 
be carried. These designs are very elaborate, and therefore suitable only 
for rare occasions. The pictures on these examples were also cut from 
newspaper advertisements and pasted on the cards. The "Clothes" exam- 
ple would look very handsome if executed i.n various shades of gray, black 
and white, or in other words, exactly like the cut. Various shades of 
blue could be substituted with equal effectiveness. The "Duds" and 
"Spring" signs could be treated in a like manner. Signs similar to these 
are worth not less than $1.50 each. The example shown in Fig 57 is a 
very beautiful specimen. The picture was clipped from a popular maga- 
zine. This example illustrates better than I can describe the splendid 
effects that can be obtained by the use of appropriate posters. 

RAISED 
PANELS. 

Raised panels give the work a very artistic appearance. 
Such panels may be either pasted o.nto the card or secured with brass 
fasteners, as illustrated in Fig. 77. When a panel is used, you should 
be careful to combine the colors harmoniously. Two shades of the same 
color are the most suitable. Thus a dark gray on a black card would be 
a good combination. Also a dark green on a light green; light blue on 
dark blue ; bright red on dark red, etc. Panels may be either very plain 
or ornamental in design, as illustrated in Figs. 78, 79, 80, 81, 82 and 
83. Raised panel cards are worth about the same as those decorated with 
posters. 

WALL PAPER 
DECORATION. 

Wall paper can be used in all manner of ways for the dec- 
oration of cardboard signs. There is but o.ne precaution that should be 
observed, and that is to select light colors. Unless you are careful to 
observe this precaution the ornamental work will overshadow the inscrip- 
tion. The examples shown in Figs. 48 and 4<) are thoroughly repre- 
sentative of what may be accomplished by this method. In a previous 
article, I have explained how the paper should be pasted onto the card. 
The prices you should obtain for this style of work should be the same 
as those for poster embellishments, as the method is almost identical. 



102 



THE ART OF SHOW CARD WRITING 




Fig Ti 



THE ART OF SHOW CARD WRITING 



103 




104 



THE ART OF SHOW CARD WRITING 




FiiT. 79. 



THE ART OF SHOW CARD WRITING 



105 




Fig. 80. 



106 THE ART OF SHOW CARD WRITING 




.^^mmms^m^^mmmmm 



Fig. 81. 



THE ART OF SHOW CARD WRITING 



107 




4^^f^re 



Fig. 82. 



108 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 109 



BLENDED 
GROUND. 

The effect shown in Fig. 54 is called blended or tinted 
ground work. There are several ways of producing this effect For fine 
work, the air brush is the most suitable. The ordinary- way is to place a 
little dry color on the card and then, with a wad of cotton enclosed in 
a piece of cheesecloth, rub the color briskly in a circular, vertical, horizon- 
tal or zig-zag direction, according to the st\-le of decoration desired. If 
the cardboard is smooth and the color is perfectly dr\-, it is possible to 
obtain a ver\- even, smooth effect. Some colors are much stronger than 
others. Just a little experience will demonstrate the quantit}^ to use. 
Another method is similar to the spatter work method, which I will ex- 
plain later. The ground-work should always be ver>- light; in fact it 
is impossible to make it verj,- dark by this method. You can obtaiu ver>' 
beautiful effects by combining several colors. Thus a combination of 
Prussian Blue, Chrome Green and Chrome Yellow will make a ven.- at- 
tractive effect Tinted ground cards may be classified with the poster 
variet}^ relative to price. 

MAT 
BORDERS. 

Figs. So and 86 illustrate the handsome effect that max be 
obtained through the use of heav\- mat borders. The inner card is 
pasted onto the back of the mat and can, therefore, be removed from time 
to time and other cards substituted. Mat borders make an excellent 
frame-work for the card and give to it a ven.- substantial and durable ap- 
pearance. In Fig. S6 the comers are decorated with raised work 
This raised effect is obtained by the use of the air pencil. This is an- 
other method that will be fully explained hereafter. A proper combination 
of colors should always be kept in mind the same as explained for raised 
panels. Some card writers furnish mat frames to their regular customers 
without charge, or, in other words, loan them only. When sold outright 
add enough margin above cost to give you a fair profit If they are em- 
bellished or decorated, charge proportionately. 

SPATTER 
WORK. 

The dotted or spattered effects shown in Figs. ST and 
88 may be obtained by two methods. You will notice that the back 

groimds of the examples are covered with specks or dots of various 
sizes. One method is to use an old tooth brush. This you dip into color 
and then shake the brush until it does not drip. Hold the brush with 
the bristle side within six or eight inches of the card. Now draw a small 
stick (a match or a toothpick will answer) across the bristles. You re- 
peat this until the entire surface, or such part of the sign as you desire 



110 THE ART OF SHOW CARD WRITING 




Fig. 84. 



THE ART OF SHOW CARD WRITING 



111 




Fig. 85. 



112 



THE ART OF SHOW CARD WRITING 



^ 







Fig. 



THE ART OF SHOW CARD WRITING 



113 




Ll ^J 'i 



Fif,'. 87 



lU 



THE ART OF SHOW CARD WRITING 










THE ART OF SHOW CARD WRITING 115 

decorated, is spattered. In Fig. 88, an old piece of lace curtain was 
fastened to the card with thumb tacks after which the above method was 
used to obtain the effect illustrated. Leaves, letters or any other design 
may be cut from heavy paper and laid flat on the cardboard. 

The other method is as follows: Use an old tooth brush as stated 
above, but instead of a stick, substitute a piece of ordinary wire window 
netting. Dip the brush into the paint and then draw the bristles across 
the netting. These methods are very inexpensive and the effect can be 
produced by anyo.ne after a little practice. The time necessary to execute 
a card in this manner, ought to be about the same as for raised panel 
and poster embellishments ; hence, the price should be the same. The 
colors for spatter work should be selected according to the advice refer- 
ring to blended grounds. 



PEN KNIFE 
DECORATION. 

The effect shown in Fig. 89, can be produced by first 
sketching the design desired on the cardboard with a piece of soft char- 
coal, after which run the point of a sharp knife along the outlines of the 
design very lightly. The blade should not be allowed to penetrate the 
card more than the smallest fraction of an inch, — just sufficient to lift the 
glazed surface a trifle. This is a novel and very attractive style of dec- 
oration and like the others previously explained can be accomplished 
without much trouble or time and with little preliminary practice. Cards 
of this style should be quoted at the sam.e rates as the raised panel variety. 

DIAMOND DUST 
DECORATION. 

Fig. 47 on page 59 is an example of diamond dust 
decoration. You will observe that the letters have been done in gray. 
This was necessary in order to give prominence to the Diamond Dust in 
the cut, and not to obtain the best effect. Diamond dust will always show 
to the best advantage if the letteri.ng on which it is placed is pure white 
The white letter adds to the snow effect. Diamond dust on white produces 
the appearance of crystalized ice. Blues and greens are the most suitable 
colors to use in connection with this material for card work. This is be- 
cause both are cold colors and therefore harmonize with the general effect. 
Diamond dust decoration may be classified the same as knife decoration 
and charged for accordingly. 

Fig. 90 shows a design for a Christmas card without diamond dust 
decoration. This card could be made more attractive by pasting a picture 
of Santa Claus in the panel where the date is now show.n. By edging 



116 THE ART OF SHOW CARD WRITING 



PEN 
KNIFE 



^ecoranon^ 



'^, f 



Fig. 89. 



THE ART OF SHOW CARD WRITING 



117 




118 THE ART OF SHOW CARD WRITING 

the holly leaves with diamond dust, the effect would be very realistic. I 
suggest a color combination for this example as follows : 

Background Very Light Blue 

Lettering L^ltramarine 

Shading White 

Border Gold 

Holly Leaves Light shades of green tipped with dia- 
mond dust 

Berries Bright red with highlights of pure 

white 




Fig. 91. 

Fig. 91 illustrates a handy device for applying mucilage to cards 
that are to be decorated with diamond dust, flitter, etc. The cut is just 
one-half actual size. The instrument is a glass tube with a very small 
ope.ning at one end through which the mucilage flows freely but slowly. 
The adhesive may be applied much quicker and more accurately with this 
instrument than with the brush. 

AIR 
PENCIL 

Fig. 92 is an example of the work that may be accom- 
plished by the use of this simple little instrument. You probably have 
but a vague idea of how the raised letters are made. It is very simple 
after you know how, much like anything else that puzzles you. The air 
pencil is illustrated in Fig. 93. It is simply a large rubber bulb with 
a nozzle (funnel-shaped) attachment. You fill the bulb with a mixture of 
whiting and glue. A little experience will demonstrate just the proper 
consistency to have the mixture. If too thin, it will run or spread ; if too 
thick, it will refuse to flow from the point of the funnel. After the bulb 
has been filled with the mixture, screw o.n the nozzle and it is ready for 
use. First mark out the ornamentation and the lettering lightly. You 
then hold the bulb in the palm of the right hand and regulate the flow of 
the composition by the pressure on the bulb. Signs made in this manner 
are exceedingly attractive and excite considerable comment. The com- 
position may be decorated in a variety of ways. When this is done, 
diamond dust, flitter or bronze, etc., should be applied before the com- 
position dries. After it is dry dust off the superfluous material. The 
air pencil should be thoroughly cleaned with warm water after using. 



THE ART OF SHOW CARD WRITING 



119 




Fig. SJ2. 



120 



THE ART OF SHOW CARD WRITING 



Various tints or colors may be made by mixing dry colors with the com- 
position. The work may be done on wood or glass or any other surface. 
The air pencil is manipulated almost exactly the same as an ordinary pen 
or lead pencil, the lettering being produced wholly by pressure on the bulb 
in the hand of the operator. The work is fascinating and may be executed 




Fig. 93. 

very rapidly. The air pencil is used for other styles of decoration such 
as raised work on flower pots, vases, picture frames, etc. The material 
is very inexpensive. Whiting (the compound) can be purchased at 
3c to 5c per pound. This style of work is worth about the same as plain 
cards. 







Fig. 94. 



THE ART OF SHOW CARD WRITING 



121 



ATOMIZER 
DECORATION. 

The examples shown in Figs. 94 and 95 represent 
work produced with the aid of the atomizer. By comparing these ex- 
amples with Fig. 100 and 101 (air brush work), you will notice a 
decided difference. As previously stated the atomizer will not begin to 
produce the results that may be obtained with the air brush. The method 
of procedure is exactly the same as for spatter work; i. e., cut out the de- 
sign desired and secure it to the card board, after which spray the back- 
ground with ink. Cards made by this process are worth about double 
the plain or average kind. 
PERFORATED 
SIGNS. 

184. Perforated signs may more appropriately be called "trans- 
parent" signs. They are designed especially for night display. They 
will, however, serve the purpose of the average card for day display. 
Cards of this kind are made as follows : First letter the card in the usual 
manner, just the same as though it were intended for ordinary purposes. 
When it is finished and dry, punch holes in the letters, through the card 
board, as illustrated in Fig. 96. Dies of various sizes are used for this 
purpose and may be obtained from any hardware dealer. The card 
should be placed on a solid foundation while the holes are being cut. 




Fig. 95. 



122 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 123 



When the perforations are made, you then paste colored tissue paper 
over the back of the card. Foil paper in various colors may also be used. 
The sign is placed in a conspicuous position and a strong light put in the 
rear of it. At night the perforated letters and figures will appear to be 
illuminated. Full sheet cards with an ordinar}^ amount of reading matter 
are worth $2.00 ; halves, quarters, etc., in proportion. It is not advisable 
to perforate all the letters ; simply those that represent the display or im- 
portant part of the inscription. (See Fig. 96). 

ARTIFICIAL 
FLOWERS. 

Figs. 97. 9S and 99 illustrate, better than I can describe. 
the very beautiful effects that may be obtained through the use of artificial 
flowers. The examples speak for themselves. Artificial flowers are very 
inexpensive. In the examples, I have used a bunch, or nearly a bunch, to 
decorate each of the specimens. This, however, is unnecessary. A bunch 
can be used to decorate several cards, thus reducing the expense. It is 
superfluous to add that they may be used effectively on an}^ stvde of card. 
This being the case, simply add the cost of the flowers and the time re- 
quired to put them on, to ascertain the price. 

AIR 

BRUSH. 

The Air brush, illustrated in Fig. 4.5 is still in its in- 
fancy. Its growth has been slow on account of its novelty. It is now 
used for all classes of designing. The air brush handles all liquid colors 
and distributes on every surface. In addition to card signs, it may be used 
for coloring maps, geological surveys ; also in decorations on silk, china. 
porcelain, glass, albumen, etc. It is recognized as a legitimate artist's 
tool. The mechanical contrivance will furnish a constant, uniform cur- 
rent of air for carrying the liquid color, and the means of controlling 
this current is operated by the slightest pressure of the thumb, and the 
least movement of the hand or wrist of the artist. 

The color is throw.n on the surface with the rapidity of a jet of com- 
pressed air. The air brush has heretofore been used almost exclusively by 
portrait artists and for applying lithographers' ink to stone. There is 
no liquid pigment which cannot be applied with it. The work do.ne by 
the air brush possesses diffusive qualities, naturally inclining to soft out- 
lines, and a shadow produced by it, however deep, is transparent in itself, 
being illuminated by minute interstices. The air brush, by its wonderful 
rapidity, renders practical and immediate results possible. 

Figs. 100 and loi are excellent examples of plain air brush work. 
To obtain similar effects, it is first necessary to cut out a pattern of paper 
or card-board and attach it to the surface in the manner described for 
spatter work. You are then ready to vise the air brush. There is 



12i 



THE ART OF SHOW CARD WRITING 




Fig. »7. 



THE ART OF SHOW CARD WRITING 125 




Fig. 98. 



126 



THE ART OF SHOW CARD WRITING 








M_^ 



Fig. 99 




Fig. 100. 




Fig 101 



128 THE ART OF SHOW CARD WRITING 

scarcely any limit to which the shading may not be carried. You will ob- 
serve that the letters appear to stand right out .from the background. 
Delicate shading may be accomplished with the air-brush much quicker 
and more effectively than by any other method. It is a very difficult mat- 
ter to give you an adequate idea as to how to charge for work of this 
kind. All depends upon the design. 

The methods which I have described comprise all that are used to any 
extent by the card writer. As stated, new effects are constantly being 
developed and it will be my pleasure to keep you advised with reference 
to anything new that may be originated before your course is completed. 



Flower Designs 



Fig. 102 illustrates a large number of, what I term, practical 
flower designs. It will require but a glance for you to .note that they are 
not by any means exact nor correct floral specimens. They are designed 
with but one object in view; i. e., speed and effectiveness. You will note 
also that there is an entire absence of detail and shaded effects. A spray of 
flower decoration always adds to the appearance of any piece of work. 
Fig. 103 is a plain example of flower decoration and Fig. 104 a more 
elaborate design where I have shown how some of the examples may be 
used for decorative purposes. 



Ribbon Designs 



Ribbo.ns are used very frequently in the work of the card writer. 
To have the greatest artistic and commercial value they should be devoid 
of straight, accurate lines to a certain degree. The examples shown in 
Fig. 105 gives you an excellent idea of the effect that may be obtained with- 
out shading. Ribbons may be twisted and curled in endless shapes and 
designs. Have them graceful to an extreme. Avoid straight, severe- 
looking lines. 



Fancy Capitals 

The fancy letters illustrated in Figs. 55 and 56 are sur- 
rounded with ornamentation of a practical sort. The word "practical" 
in this sense means, easy to duplicate and execute. I presume it is un- 
necessary to state that any of these letters may be transposed, or their posi- 
tion changed with equal effectiveness. Thus the "A", if placed on the 
panel whereon "B" is now shown, would look fully as well. Fancy capitals 
may be used with good taste in most inscriptions. By softening, or sub- 
duing the colors used for the background or ornamental work, the effect 
will always be equal to the example shown in Fig. 106. 



THE ART OF SHOW CARD WRITING 



129 




>^%-^ 



,fl5 




130 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 131 




132 



THE ART OF SHOW CARD WRITING 



^^W 



^ 




Fig. 105 



THE ART OF SHOW CARD WRITING 



133 




134 THE ART OF SHOW CARD WRITING 



Seasonable Decoration 

The card writer who uses good taste and judgment in the se- 
lection of colors, embellishments, etc., can depend upon his efforts being 
appreciated and liberally rewarded. Few card writers seem to have a 
comprehensive understanding of what "seasonable" decoration implies. 
To make this perfectly plain to you, I will call attention to a poor example 
I observed some time ago in connection with an elaborate display of hani 
mocks. The window in which the hammocks were displayed, was very 
tastefully decorated. The arrangement of the articles was designed to cre- 
ate a feeling of contentment and ease. In the window, were several card 
sig.ns calling attention to the goods displayed and giving price<;. In the 
center of the window, a very large card had been placed bearing the in- 
scription "KEEP COOL.". All of the cards were a very bright red. The 
effect was therefore paradoxical. Red is a warm, in fact, it would be more 
fitting to say a "red-hot" color. The skill and art of the window trim- 
mer was, therefore, completely ruined by the poor judgment of the card 
writer. The card should have been white, light green or blue, thus being 
in keeping with the feeling suggested by the goods and the wording of the 
sign. Examples of bad judgment similar to this can be seen daily. You 
should make it a rule to have your ornamental work and colors symbol- 
ical. In the following pages and examples, I shall point out and explain 
various kinds of -decorative work and colors approp'riate for the seasons, 
I will begin with '" , 

JANUARY 

In northern latitudes January represents the month 
of snow, ice and low temperature. The decoration should harmonize with 
existing conditions. Note the effect in Fig. 107, where the design is so 
simple that the time consumed in executing did not exceed 20 minutes. 
The landscape effect is produced with white exclusively. Many suitable 
pictures can be obtained from magazines and newspapers, especially during 
this season of the year. Clip them out and reproduce them, being care- 
ful to select those that are simple and easy to duplicate. The colors most 
suitable are white, black and various shades of green and blue. 

FEBRUARY 

February is not unlike January with regard to general 
conditions. This is the month of all months with which we should 
be familiar. The 22nd. day of February commemorates the birth of the 
illustrious George Washington. All have heard the story of the ill-fated 
cherry tree. The decoration at the bottom of the example in Fig. 108 
is thus quite appropriate. The snow and ice effect is appropriate for this 
month also. 



IHK ART OF SHOW CARD WRITING 



135 




136 



THE ART OF SHOW CARD WRITING 




Fig. 108 



THE ART OF SHOW CARD WRITING 



137 




13S 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 139 




Fig. 111. 



liO THE ART OF SHOW CARD WRITING 




Decx>fdtion 



i 




Fig. 112. 



THE ART OF SHOW CARD WRITING 141 

MARCH 

The weather conditions in March are much the same as 
the preceding month. This month is characterized by severe wind-storms 
and heavy rainfalls. The example I have shown in Fig. 109 is very fitting 
and illustrates a very common occurrence. 

APRIL 

Like most of the months of the calendar year, April is 
conspicuous because it brings to mind a period in the world's history with 
which all civilized people are cognizant, i, e., Easter, commemorating the 
Resurrection. The Easter Lily (or Davis Lily) may therefore be used for 
decorative purposes. Chicks peeping from bursted egg shells and egg 
designs in bright colors are also appropriate and legitimate for this season 
of the year. Purple, lilac, violet and white are Easter colors. Fig. 110 
is a handsome example of April decoration. 

MAY 

The ceremonies that are universally observed in this 
month are looked forward to by every patriotic citizen of the United 
States. The 30th., of May (Decoration Day) is the day on which loyal 
Americans pay tribute to their departed heroes. Flags, bunting, wreaths 
and any other natio.nal emblems may, therefore, be used for decorative 
purposes for this month. The colors should be patriotic, i. e., Red, White 
and Blue. The design in Fig. Ill is fairly representative. 

JUNE 

June is known as the month of roses, therefore the style 
of the design illustrated in Fig. 112. Roses and, in fact, flowers of any kind, 
are exceedingly difficult to duplicate in .natural colors. For card purposes, 
we eliminate details and shading and obtain harmonious results through 
the use of broad, effective strokes. June is the month when nature begins 
to take on new clothing. The trees bud and the grass begins to shoot 
from its winter quarters. At this season of the year, nature may be ap- 
propriately represented by a medium shade of green. Later on, the 
foliage, grass, etc., assume a darker shade of green. Green is the comple- 
mentary color of red. Most roses are red. Therefore, red and green may 
be used very appropriately for the month of June. 

JULY 

We all know what happens in July. Some of us know 
to our sorrow. July in most parts of the United States, is given over to 
a general celebration of a great national event with which all of us are 
familiar. The shield, the eagle, (the national bird) the American flag, all 
sorts of explosives, (fire-crackers torpedoes, etc.) such as are used to give 
vent to our enthusiasm, may be classified as legitimate decorative designs 
for the month of July. The colors must be in harmony with the decora- 
tion. Red, White and Blue. Fig. 113 is an appropriate example. 



142 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 



148 




Fig, 114. 



144 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 



145 




146 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 



14^ 




Fig. 118. 



10 



U8 THE ART OF SHOW CARD WRITING 

AUGUST 

August has been appropriately termed "vacation month," 
This and the following month represent the time of the year that is usually 
devoted to recreation by those who can afford it. Boats, guns, fishing 
rods, books, hammocks, fans and other articles that conduce to rest, recre- 
ation, pleasure and similar enjoyment may be used to exemplify this 
season as shown in Fig. 114. Cool colors are most appropriate, i. e., 
blue and green. 

SEPTEMBER 

September marks the beginning of the cooler months. 
This is the month when Nature begins to disrobe. The foliage turns from 
a bright green to a light 3'ellow, and from this to an orange, and then to 
bright red. This is the season designated as the most beautiful time of 
the year ; the time when Nature is at her very best. In Fig. 115, I have 
shown the effect of falling leaves. In all the designs exemplifying the va- 
rious seasons, I have tried to avoid detail and studied, laborious effects. 
My object has been to make each example as simple and as easy to dup- 
''cate as possible. The work should be suggestive rather than exact. 
This idea is fully carried out in the design representing the mo.nth of 
September. 

OCTOBER 

October is very similar to the month of September. The 
apple design in Fig. 116, I consider very appropriate. Of course, all 
of my scholars are not competent or capable of executing a correct 
drawing of fruits gathered in the fall months. Here again, I have an 
opportunity to call attention to the value of poster embellishments. If 
you cannot duplicate the fruit decoration in color, select and cut out an 
appropriate design from your collection of posters and paste it on in an 
artistic manner. Grapes or any other late fruit will answer. Colors for 
the fall months should be those given in the preceding article, i. e., 
various shades of brown, yellow, orange, red. 

NOVEMBER 

November offers an opportunity for several styles of embel- 
lishment. In some parts of the United States, it is known as "Foot Ball" 
month. It is universally known as Thanksgiving month. You, there- 
fore, have your choice between pennants, football, turkeys, cranber- 
ries, etc. This month usually marks the beginning of winter in earnest, 
and, therefore, an entire absence of all bright colors in nature. Combina- 
tions of cold colors are thus seasonable. Fig. 117 illustrates some of the 
features mentioned. 

DECEMBER 

December is the month that brings joy to the youngster 
and more or less pleasure to all. As I believe it to be entirely unnecessary 
even to mention the style of decoration most appropriate for this month. 



THE ART OF SHOW CARD WRITING 149 

I will simply call attention to Fig. US', which will suffice. The most 
suitable colors are red and green. 

In naming the colors appropriate for the various months, I have made 
some statements, such as "combinations of red and green," which may 
be misleading. Where I have designated certain colors (Red and Green, 
for instance) as appropriate, I do not mean that you should confine your 
combinations to these two colors exclusively, neither do I mean that you 
should shade a red letter with green or that you should show a red 
letter on a white card with green ornamentation. I mean that the colors 
I have suggested should predominate. Never lose sight of the fact that 
all ornamental colors should be subordinated. The combination I have 
suggested in connection with Fig. 60 will, I believe, give you an exact 
and comprehensive understanding with regard to this matter. 

AUTUMN 
DECORATION. 

The example illustrated in Fig. 119, is a good specimen 
of seasonable decoration. Here you will notice a pleasing combination 
of grapes and pumpkins and also an absence of detail, thus rendering the 
execution simple and rapid. 



Panels 

Fig. 120 illustrates some very handsome and attractive panel 
designs all of which may be classed among the practical kind. Panels, 
either painted or cut out and pasted onto the card, serve many purposes 
in the work of the card writer. They may be used for display words or 
to carry the unimportant part of an inscription with equal effectiveness. 



Price Tickets 



Price tickets exist in almost endless variety. There is scarcely 
any limit to the style or desig.n that may be used for pricing various 
commodities. The many examples shown in Figs. 121 to 125 offer 
ample opportunity for the study of various effects and methods. Those 
in Fig. 121 illustrate the extreme!}- plain and simple models. Blank 
cards, in fancy designs such as Nos. 1, 3 and 8 can be purchased ready 
made. The others in this figure may be cut by hand with reasonable 
speed. When a large quantity is desired, however, it is not advisable to 
attempt to cut fancy shapes with a pair of shears. Nos. 5, 6 and 7, you 
will observe, have a stem. These stems are used to fasten them to the 
article displayed. This may be done by passing the stem through the 
band of a hat, for instance or in the hollow of a shoe. The illustration 
are about ]/% the size of the average price ticket. Price tickets range 



150 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 



151 




152 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 



153 




154 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 155 

from a very small size up to 12 inches square. The average size is about 
3 by 4 inches. To give ^-ou an idea how price tickets ma\- be decorated 
in various ways. I will suggest a combination for each (Fig. 121) in 
their numerical order. 

No. 1 Edge line, gold ; border line, gra\- ; letters, black. 

No. 2 Edge line, light blue ; lettering, dark blue. 

Xo. 3 Border line, gold ; lettering, black. 

Xo. 4 Border, gold ; lettering, bright red. 

No. 5 Edge line, light green; letters, red; shade, light green. 

N'o. 6 Edge line, red; lettering, black. 

X'o. 7 Edge line, gold; lettering, dark blue. 

No. 8 Border lines, gray; shade, gray; letters, black 

Xo. 9 Border line, lilac ; letters, purple 

No. 10 Border, light green; letters, dark green. 

No. 11 Return, light green, border line, light green; letters, 
bright red ; shade, graj^ 

Fig. 122 shows a variety of odd shapes. Pleasing color combinations 
are as follows : 

Border, silver ; lettering, black. 

Border, gold; scroll, light green; lettering, black. 
Border, old gold ; lettering, brown ; shade, gray. 
Background and stripes, light blue ; lettering, dark 
blue ; shade, white. 
Iso. 5 Edge line and border line, gold ; spray of flowers, 

several shades of green ; lettering, olive green. 
Xo. G Border, lilac; figure, purple; face shade, blue; letter- 
ing, blue. 
Xo. 7 Edging, green; lettering, blue; scroll, gray. 
No. 8 Edging, gray ; lettering, black. 
N'o. 9 Edge line and border, light blue ; lettering, black. 
Xo. 10 Border, gold ; rosettes, light blue ; letteri.ng, dark blue. 
X^o. 11 Border, gray ; lettering, red. 

No. 12 Edge line and border, old rose; lettering, dark red; 
spray, gray. 

Fig. 123 illustrates several artistic effects obtained by the use 
of wall paper. 

No. 1 This is a plain white card with a very light tint of 

green wall paper pasted in the center. Lettering. 

dark blue. 
N'o. 2 Dark gray card, black ornamentation ; black letter. 
No. 3 Light gray card ; wall paper, dark green ; letters, 

white; outside stripes, white; inside stripes, gold. 
N'o. 4 Light gray card ; variegated wall paper ; outside stripe, 

light gray; lettering, black. 



Xo. 


1 


Xo. 


2 


Xo. 


3 


Xo. 


4 



150 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 157 

Xo. 5 Wall paper, two shades of olive green; lettering, 
white ; numerals shaded with dark green ; letters 
underlined with bright red ;" border line inside, light 
green ; outside border line, gold. 

Xo. 6 Light gray card : wall paper, two shades of red ; letter- 
ing, white ; letters underlined with gold ; numerals 
shaded with black; border lines, gold. 

X'o. T White card; wall paper, lemon yellow; lettering, dark 
blue ; numerals shaded with old gold ; letters under- 
lined with old gold; border line, gold. 

The examples shown in Fig. 124 are much more elaborate 
than those previously illustrated. They are specimens of raised panel 
effects. 

X'o. 1 Light blue card; panel, white; edge on lower card, 
gold; edge on panel, gray; lettering, blue; shade, 
gray. 

Xo. 2 Under card, dark gray; panel, light gray; border lines, 
silver; numerals, raised and decorated with gold; 

lettering, white or blue. 

X'o. 3 Light green card; border and scrolls, gold; panel. 

covered with dark green wall paper ; letters, white ; 

border lines, black. 
X'o. 4 Lower card, white; panel, dark gray; letters, blue; 

outside border line, black; inside border line. gray. 
X'o. 5 Lower card, lilac ; panel, dark blue ; ornaments and 

border lines, gold ; lettering, white. 
X'o. 6 Lower card, dark red ; panel, covered with light green 

wall paper: scroll and border, gold; lettering, dark 

green, outlined with white. 
X'o. 7 Lower card, dark blue ; panel, white ; border, light 

blue ; lettering, dark blue. 

The examples in Fig. 125 consist of air brush and embossed 
specimens. Nos. 2, 6, 7, 8 and 9 are specimens of pure air brush work 
while X'os. 1, 3, 4 and 5 are combinations of embossed and air brush effects. 
These cards can be purchased in quantities from the makers at very 
reasonable prices. The lettering on all of these examples was executed 
with a X'o. % solid marking pen. The numerals were executed with a 
X'o. 10 Lettering Brush. 

Price tickets are sold from Ic. each, upward. The price depends 
solely on the quantity-. The plainest kind of a price ticket, in small 
quantity- lots, is worth about 5c. The average charge for plain price tickets 
is 50c. per dozen. Elaborate cards must be priced proportionately. The 
price you pay for the embossed and air brush variety- must govern your 
charee on them. 



L\S 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 359 




Fig. 126. 



160 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 161 




Fig. r>^ 



162 THE ART OF SHOW CARD WRITING 




Fig. 12 



THE ART OF SHOW CARD WRITING 



163 




JD^^i^ 




Fig. 130. 



164 



THE ART OF SHOW CARD WRITING 




Fig. 131. 



THE ART OF SHOW CARD WRITING 



165 




Fig. 132 



166 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 



1(57 




Fif?. i:u. 



168 THE ART OF SHOW CARD WRITING 




Fig. 135 



THE ART OF SHOW CARD WRITING 



169 



■^^^ 




Fig. 136. 



170 



THE ART OF SHOW CARD WRITING 




THE ART OF SHOW CARD WRITING 171 



Book Cover Designs 



The designs that are illustrated in Figs. 126 to 137. inclusive 
may be appropriateh' termed book cover designs. Of course, they are 
too elaborate for average card purposes. They may be used, however, 
for special occasions when the customer is no: particular about the 
price. These designs are worth from $3.00 to $5.00 each, depending on 
the st\-le. 



Show Card Phrases 



Some lines of business will stand for flippant ad-talk; some demand 
dignit}'- of st\'le; some, convincing argument. In the selection, good ad- 
sense is demanded. "Light htmior," like fire, is a dangerous thing to 
handle. The fellow who tries to be witt\- is often only foolish. Sensible 
talk appeals most to sensible buyers. - Therefore ajid wherefore, study 
your customers ; then study your ads : and finally, study them over again 
before posting your ad. 

Don't write ads. over the meaning of which people have to puzzle. 
It's ad-space wasted. Only idle people have time or inclination to guess 
conundrums or study riddles, and, usually, they haven't the price. 

I have told you of the practice of up-to-date card writers 
to clip pictures, cuts, etc., from magazines, newspapers and periodicals 
from which ideas can be obtained and improved. This same idea can be 
applied to "catch phrases'" or "headings" suitable for card signs. "Watch 
the work of your competitor. Look over the advertisements in the daily 
papers. Observe the headings used to attract attention. Clip out the 
good ones and save them. While, as a rule, the merchant will supply 
the inscription or reading matter, at times you will be asked to prepare 
"copy'' and you must be ready for such an emergenc}'. To help you to this 
end, I have selected a large number of witt>- phrases — all short and to 
the point — from which I believe you will be able to select something ap- 
propriate for almost any occasion. These phrases are not all original. 
I have obtained most of them in the manner suggested above : 

Men's Clothing 

Mannish IModes for Little ^len. 

Pay $13.50 for one of these Suits and Congratulate Yourself. 

Next to your Ability comes ^-our Appearance — These Suits 

Make you look Smart. 
Coats that have been Built for Fine Taste. 
To the other Virtues of these Suits we have just added an 

Extremely low Price. 
Suits that will Easily Prove their Intrinsic Worth — Reduced 

in Price for Logical Reasons. 



172 THE ART OF SHOW CARD WRITING 

Suits to Fit Perfectly all ^Manner of Men — Normal or Ab- 
normal in Girth or Chest. 
All Our Clothing is as Good as it Looks. 
Blow-on- Your-Fingers Weather is Coming. So Be Overcoat 

Wise. 
Contrary to What Anyone J\Iay Say, a 'Man is Judged by His 

Clothes. 
Comfort Clothes for Hot Weather — Prices Just as light as the 

Goods. 
Extraordinary Values in Seasonable Clothing. 
Good Clothes Are Tools of Advancement. 
Help out the Old Coat and Vest with a New Pair of Trousers. 
High and Low Trousers — High in Quality and Low in Prices. 
If Nine Tailors ]\Iake a Man, We Have the Best Nine Tailors 

in the City. 
Just the Kind of Suits That Will ]\Iake You Look Like a 

$40 Tailor-Made Man. 
No Investment Pays Better Than Good Clothes. See Our 

Suits at $ 

Ready-to-Put-on Suits That You'll Not Be Ready-to-Put-OfT 

Till the Last Stitch Gives. 

# 
Men's Furnishings 

Collars that Fit the Season, the Shirt, the Fashion and the 

Pocket Book. 
At this Popular Price our Assortment of Cravats is Con- 
vincingly Complete. 
Socks with Clocks That are Right Up to the ^linute. 
Worn Particularly by Particular Men. 
Here are the Sort of Fancy \'est5 You Have Been Looking 

For All Over Town. 
Are You Troubled with "Holy"' Socks? These are Wholly 

Good. 
Our Store is the Capital of "Scarfdom."" 
The ^lan in Search of a Touch of Newness will Find it in 

These Shirts. 
An Ounce of Good Underwear is Worth a Pound of ^^ledicine. 
An Underselling Sale of Summer Underwear. 
Fine Furnishings for Fastidious Fellows. 
Medium and Heav}- Weights — Soft, Fleecy Garments. 
Sightly! Worn Nightly, ^lade Rightly, Priced Slightly 

(Men's Night Shirts.) 

Ladies' Wear 

Favorite Dress ^Materials for Summer End-of-Season Prices. 
The Miss Who Wants White Will be A\'ell Pleased With 
Our Assortment. 



THE ART OF SHOW CARD WRITING 173 

For the Girl Who Wants to be Prettier, Here are Suits to take 
You "Out of the Crowd." 

Stylish, Ship-Shape Sailor Suits. 

Women's New Autumn Suits to Put Right on and be Com- 
fortable. 

Waists that Have the Secret of Good Simplicity and Good 
Taste. 

Tailorish Silk Shirt- Waist Suits. 

Women's Suits of High Degree — Low in Price. 
A WHIRLWIND of Bargains in Dress Goods this Week. 

Exquisitely Tailored Suits. 

No Lady's Wardrobe Complete Without These Dainty Rust- 
ling Garments. 

Noisy Silks at Quiet Prices. 

There is a Superior Grace and Character to Our Tailor-Made 
Suits. 



Men's Hats 



Here's a Straw Without a Flaw. 

Stylish Straws — Sensible Shapes — Smart Styles. 

Soft Hat Comfort for Hard-Headed Men, Who Appreciate 

Style, Quality and Good Values. 
Here is the Hat You Had in Mind. 
No Headaches in These Hats. 



Boys' Clothing 



Suit Your Boy, Yourself and Your Pocketbook with a Nor- 
folk Suit. 

Clothes to Please the Lads — Prices to Please the Dads. 

Clothing is Cheaper for a Healthy Boy than Doctor's Bills for 
a Sick O.ne. 

He'll Never "Play Hooky" if You Dress Him Like a Gentle- 
man. 

Nothing Too Good for Mother's Boy. 



Sh 



oes 



A Paradise of Rest for Weary Feet. 

No Trouble to Show Shoes — No Shoes to Show Trouble. 

It's Oxford Time. Let Our Shoeman Take Care of Your 

Feet. 
A Shoe With Every Mark of Correct Style. 
It's Time to Step into New Spring Shoes. 
Shoes That Are On the Tip-Toe to Get Out of the Store. 
Shoes as You Like Them for Less Than You Usually Pay. 
We Sell Shoes — Not Our Customers. New Shoes Sold — Old 

Shoes Re-Soled. 



174 THE ART OF SHOW CARD WRITING 

Ease and Comfort Combined — Comfort for the Feet, Easy 

for the Purse. $2.00. 
Easy Shoes for Tender Feet. 
Fit Well, Feel Well, Look Well, Are Well Made and Well 

Worth the Price. 
For Your Foot's Sake Lend Us Your Ears. 
Low Shoes at Low Prices. 
Not only Good Shoes for Perfect Feet, but Perfect Shoes 

for All Feet. 
Real Leather — Real Workmanship — Real Style. 
Shoes — Good to Buy Because They are Good to Wear. 
If the Tongues in These Shoes Could Speak, They'd Say 
"Mighty Good." 
Right Shoes in All Varieties. 
Character is Told by the Shoes One Wears — How About 

Yours ? 
Shoes shaped to Satisfy Comfort and Style and stayed not to 

Yield to Pressure. 
It's no Feat for Us to Fit Feet. 
An Easy Shoe at an Easy Price. 
A Shoe "That Fits the Foot and Feasts the Eye." 
Be Sure of Your Footing, Then Go Ahead. 
Calf Lined, Double Soled to the* Heel. 

Common Sense Heels, Extension Soles and Goodyear Welt. 
Storm Slippers! Wherever it Rains It Reigns Supreme. 
Springy Shoes for Spring and Summer. 
The Kick of the Boy and the Skip of the Girl are Provided 

for in Our School Shoes. 
That Boy Will Find His Match in Our School Shoes. 
The Man of Taste Never Allows His Taste to Fall Short of 

His Shoes. 



Miscellaneous 



A Saving Worth Making. 

Short Prices — Long Values. 

Pretty Patterns at Petty Prices. 

Millinery That is a Treat to the Eyes. 

Distinctive Styles at Distinct Savings. 

Smart Followers of Fashion will Endorse These Styles. 

Practical Silks for Economical Women. 

Small Prices That Bear a Heavy Burden of Quality. 

June, the Wedding Month, Finds Us With Plenty to interest 

Those Who Contemplate Making Gifts. 
Things to Wear for Men Who Care. 



THE ART OF SHOW CARD WRITING 175 

Faultless in Fabric. Finish and Fit. 

Hang up a Hammock — The Season is in Full Swing. 

Wash Suits that the Tub Will Prove Worthy. 

Just a Little Different — Just a Shade the Best. 

Here is Cool Gray Comfort Combined With Style. 

What You Buy— We Stand By. 

On Many Stocks We've Put a Price That's Sure to Move 

Them. 
Spring is the Mohair Season — Blue is the ^Mohair Color — This 

is the ]\Iohair Opportunity. 
We are Earliest With the Latest Things. 
Moving Pictures — Low Prices are Moving Them. 
For Judges of Value, a Glance Will Be Salesman Enough. 
These Prices Keep People Coming In and Goods Going Out. 
Fashionable, But Not Too Fancy. 
It's Lace Curtain Time For Wise Housekeepers. 
Here are Veils — Avail Yourself. 
Pure Foods Economically Priced. 
This Price is a Libel on the Value. 
Satisfaction Goes Where These Go. 
These Will Make the Most Exacting Happy. 
The Price is as Low as True Merit Will Allow. 
These are the Fabrics for which Fashion is IMaking such 

Urgent Demands. 
Quality Gained and Money Saved. 
Good to Look at and Better to Wear. 
We Feature Fashion's Fairest Fancies Here. 

The Quality is as Substantial as the Saving. 
Little Things Most Necessary in Every Household. 
Now is the Time — Here is the Place — This is the Price. 
You Can Safely Buy Them With Your Eyes Closed at this 

Price. 
As Fashionable as They are Seasonable, as Serviceable as 

They are Reasonable. 
Pretty Pieces at Persuasive Prices. 
Sample Trunks That W^ant to Go Traveling. 
Comfortable Bedding for These Chilly Nights. 
The Latest Hatchings from Fashio.n's Incubator. 
Heavy Walking Gloves that are Under !\Iarching Orders. 
Throw Them in the Tub and Wash Them to Your Heart's 

Content — You Can't Wash Out the Fact that This Price 

is Only Half Their Value. 
Turkish Bath Towels That Are Soft, Thick and Thirsty. 
Whatever is Needed for Coolness and Appearance is Here 

in Plentv. 



176 THE ART OF SHOW CARD WRITING 

Every Seam, Every Plait, Every Hem Shows Perfection 

of W^orkmanship. 
Soaring Quality — Falling Prices. 
Rain Rattles Off These Rain Wraps. 
Fashion's Favored Fancies in Furs. 
Here's a Chance to Save by Spending. 
Stirring Economies on Good Housewares. 
A Harvest Festival of Good Things to Eat. 
The More You Like Comforts the More You'll Like These. 
The Tailoring and Fabric are Better than the Price Suggests. 
Summer Cottons for Winter Tourists. 
Prices that Tell the Tale — Qualities that ]\Iake the Sale. 
A Profitable Loss — Turning these to Money. 
Window Space Permits of But a Small Display — Step in and 

See the Full Line. 
Comfortable but not Clumsy. 
Good Razors at Price Shavings. 
As Good as Any — Better than IMost. 
These Prices Rarely Buy Such Qualities. 
A Happy Blend of Comfort and Style. 
The Price Gives no Hint of Their Real Value. 
Things You Want — At Prices You'll Like. 
If Your Pocketbook is Your Guide, Walk In. 
Hammocks Fall — These Have Dropped from $5 to $3. 
Just an Insta.nce of What Our China Section is Doing . 
Such a Splash! When These 225 Bathing Suits go to Sea. 
They Look Fine and Well !Made, and Will Prove so in the 

Wear, 
Get a Notion of this Humming Notion Sale — It's Near the 

End. 
Cut to Insure Comfort Without Asking Your Vanity to Pay 

the Penalty. 
A Dull Knife Tries the Temper — Here is the Finest American 

Table Cutlery. 
Good News of New Goods. 
Prices of Powerful Popularity. 
Prices Reduced to the Laughing Point. 
Worthy Silks — Worthy Savings. 

After These are Gone no ^^lore ; It's Just Changing ^loney. 
A Harvest of Furniture Fancies. 
A Trumpet Call for Bargain Seekers. 
Bargains — Not Remnants. 
Come Again and Gain Again. 
Doing Beats Promising. 
It Will Be Our Fault if You Don't Return. 



THE ART OF SHOW CARD WRITING 177 

It Takes Sense to Make Dollars. 

It Takes Nerve to Sell at These Prices. 

Made o.n Honor — Sold on Merit. 

Our Patrons Wear Smiles. 

Our Clerks Are Here to Assist — Not to Insist. 

Quality Costs, but Its the Surest Guaranty. 

The Early Buyer Gets the Choice. 

The Key of Wealth is Right Buying. 

We Have Been Looking for You — Now Listen. 

We're Out-Talked Often — Outdone Never. 

We Originate — Others Imitate. 

We Do Everything to Sell Our Goods Except to Misrepresent 

Them. 
We Give Lessons in Right Buying by Examples in Low 

Selling. 
Don't Worry About the Fit, We Attend to That. 
Do.n't Let Cigars Get the Best of You ; Get the Best of Cigars. 
If You Don't Decide To-Day, You Will Find Us Here To- 

Morrow. 
Leave Your Thirst at This Fountain, 5c. 
Now You Get the Pick — Later You Get the Remnants. 
Quality the True Test of Cheapness. 
Take Your Choice from This Choice Lot. 
Talking About Strikes. How Do These Prices Strike You? 
To Have Been First Proves Antiquity — To Have Become 

First Proves Merit. 
We Can Make it Warm for You if You Need Blankets. 
We Have Trunks That Will Laugh at Any Baggage Man. 
We Don't Follow the Leaders ; We Lead the Followers. 
We're so Far Ahead That We're Lonesome. 



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HECKMAN 

BINDERY INC. 

^ DEC 90 

■^ I ''^ffl^ N. MANCHESTER 
» >, I ^^r IN DIANA 46962 



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